Boquet, 2019

Fabric, Leather, Metal, Wood.

39" x 24" x 10"

The Pearling, 2007-18

Glue,  polyeurethane, reclaimed Christmas trees

Currently, I am still collecting parts of the Collectanea series and concoctions for Pharmacopoeia additions as well as working on several diverse projects. 

One group of new works is derived from ideas of inherent human attraction presented in The Evolution of Desire: Strategies of Human Mating by David M. Buss.

The works are crafted out of vintage pornographic magazine images reformed using numerous origami butterfly patterns.  

Several other minor works seem to be possibly coalescing into a group I am tentatively calling Appendages. In some of my past work (especially the Parallax series), I have wondered if I am being too didactic. I just love the scenarios of wonder that those works, in particular, are derived from and want to share their stories in accompanying writing. Art lovers always have an individual choice whether or not to read paired texts, so it is not inherent in the works themselves that I feel this, but in how I have exhibited these works that lead me to this query.

Container for Divided Souls (1/3), 2016-19

Aluminum, coconut, steel​

Requiem, 2016

Cat whiskers, Dove Beauty Bar

Untitled (1/3) (in progress), 2016-

Steel wire, stone, trees

In about 2001 I became intrigued with the technical death metal band Nile. Music has always been very integral to me in numerous facets and I enjoy a broad selection of artists and styles. Although I do love a lot of hard rock bands, the really extreme ends of technical/black/death metal never quite grabbed me. Nile was a band whose music intrigued me more than anything. Having grown up on oldies rock and roll, classic country, and top 40's pop, I feel my concept of music structure was very simple. The music of Nile both fascinated me and confused the hell out of me, and I wanted to find out why. The band does have an impressive conceptual framework as well, as the members are avid Egyptophiles and derive much of the content of their works from ancient writings. For several years I exclusively listened to their individual albums for months on end in an attempt to break through to some kind of understanding of just what I was hearing and how it made compositional sense. The same was true of some classical music that I came across in my late teens. The composer who seemed to attract me the most was Dmitri Shostakovich, so I set about doing the same with a few of his symphonies. Symphony #7, (Leningrad) also has a fascinating and terrifying history behind it's writing and initial performances during the infamous Siege of Leningrad during World War II. I have had no epiphany moments with their music, but I am developing an evolving understanding of more complex compositional structures.


The series Celluloid Transmutations really came directly out of this experiment. I thought how this might play out with works in other media; books, films, poems, etc. I chose Casablanca to repeat because it was possibly my favorite film, and thankfully still is, and it grew into the drawing exercise. I still don't have a definite project concept involving either of these musical artists, but since I have spent an enormous amount of time investigating the issue, there is most likely a significant work that will develop out of this.

Shostakovich Symphony #7 In C, Op. 60, Leningrad - 1. Allegretto - Dmitri Shostakovich
00:00 / 00:00
Smashing the Antiu - Nile
00:00 / 00:00

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