Calligraphy Two, oil and charcoal on plasma cut steel, 59″ x 19″ x 2″ each
Pushing the boundary between painting and sculpture, this one part of a two-part piece evolves gestural mark-making into steel sculptural form. The durable, outdoor material of the form is contrasted by the more fragile, subtle surface of the piece, detailed with oil, chalk and ink.
Oil and charcoal on plasma-cut aluminum, 30″ x 60″ x 60″ each
Looking at process and totality, these two domes consider the concept of opposites as two parts of a whole. The shapes originated from one 4″x4″ calligraphic ink drawing that was made into a repeating hexagon. The shapes were cut from aluminum, and the positive shapes make “Heaven” and the negative shapes make “Hell”. Heaven is axial symmetry. Hell is non-axial symmetry. The artworks go together as a set.
Andiamo: This body of work reengages my research of Roman architecture. I study mathematical proportion, path, axis, and patterns in plans and elevations of buildings. I am interested in how these spherical clusters relate to human scale, as diagrammed by Vitruvius. I want to understand how a sacred spaces are created architecturally and sculpturally.
These artworks are abstractions of real architectural buildings from the Roman Empire. They are models for large-scale sculpture. I am interested in the paint and texture as a response to traditional surface decoration of domes in architecture. By constructing these shaped surfaces, I am creating sacred space for my own painting and drawing practice.