Purple Carnations, after Rimbaud.
An invocation of the French poet, Arthur Rumbaud. Specifically in his poem "Sonnet du Trou du Cul"/ Sonnet of The Asshole" in which he likens the anus to a purple carnation. This poem is thought to be the only poem he co-wrote with lover and fellow poet Paul Verlaine.

Fountain 1

Equal parts figuration and landscape, Fountain 1 encompasses ideas of absence. The absent body referenced through vitrified clay flowers hand-built to a naturalistic scale, adorning the structure like brittle-bone matter, intermingling with personal recollection of places visited. Monumental in its breadth, this is meant as an ambiguous cenotaph to memory, containing new sculpted flowers with each successive installation.

Tea-Cup, from Overgrown Series, Wild Rose. Hand-built, clay body, 6 x 6 x 4 inches, 2014.


Fountain 1, hand-built clay body, 4 x 4 x4.5 feet, 2013 (ongoing)

Root 1, from Enigma Series, ​hand-built, hand-painted ceramic, 2015.

Purple Carnations, after Rimbaud, hand-painted, hand-built clay body. 2014.

Overgrown Series, tea-set.
Engaging the principle of form over function to the absurd, 2-dimensional decoration usually used as adornment on objects like a tea-set, here, has actual dimensionality, decomposing the original purpose of these domestic objects in an immediately sensual way. An evolution of form to full purpose is the result, or rather an annihilation of all functionality. Similar to drawings where my body intermingles with plant and animal-life, some on the skin's surface, others in some mutation or transformed state, forcing a sense of bodily angst.
Chime. Hand-built clay body. Installation, various sizes, 4 x 6 x 15 feet, 2014

Root Series

Equal parts figuration and flora, these hybridized sculptures make reference to 16th Century polychromes and further extend ideas about embodiment and deconstructed states of being.

Tea-Pot, from Overgrown Series, Dandy-lion. Hand-built, hand-painted, clay body,. 6 x 6 x 12 inches, 2014.

Root 2, from Enigma Series, ​hand-built, hand-painted ceramic, 2015.

Chime  A configuration of loose ceramic flowers, hand-built to a naturalistic scale, hung by single linen threads, an excessively drooping wind-chime. 

Ditch/Cut Flowers, after Mary Delany

These works make reference to the 17th Century paper artist Mary Delany, and elude to the act of pulling flowers or cutting them for a bouquet or gift as a sign of mourning, love and memory.

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