Ill be installing a large scale shadow line at the Denver Botanic Gardens this month. Like some of these works that I have made at various times in the past, this one will align in September on the Autumn Equinox at mid day and continue to align until the end of the exhibit. It will be located in the Plains Garden and is part of the larger "Catalyst" exhibit they are hosting.
The vegetation has grown back around my work, Avian Front, in Denver's City Park.
This summer I revisited working with some of the steel pipe I incorporated into my commissioned work in Denver's city park, Avian Front. I was exploring the transitions between the geometry of arc lengths, calibrating them to resolve at a peak. This sculpture is scaled to engage the viewer in several very dynamic perspectives. I expect to exhibit the finished work next spring in Denver at Goodwin Fine Art.
This is another recent work that Goodwin Fine Art in Denver currently has on exhibit. As with many wood works of mine, this particular black walnut plank rested in my studio for a couple years untouched, drying and developing the check that the final piece is carved from.
7/2012. As I continued working into this solid maple orb I became more interested in its potential momentum and the tension it creates in a typical gallery environment. When I approach the process of creating works for an exhibit, I consider the room and the relationships between the architecture and the viewer. In this case, the sculpture expresses physical and visual weight, capable of actual destruction depending on the viewers interaction. There is a preciousness with art that often diminishes our experience of it, and the prospect of busting a hole in the wall of the gallery or leveling a viewer as this swings is somehow liberating.
Morton Waller composed a 10 minute sound work that was performed by 12 bag pipers and 2 percussionists. This piece was a tonal work that responded to the chromatic transitions that the sculpture exhibits through out the day. Mr. Waller, Rudi Cerri from the City of Denver, and the Centennial State Pipes and Drums deserve much credit for believing in the unconventional and the public's capacity to appreciate a sonic interruption in the mid summer night.
a study in isolating texture and color as we don't normally see it
Luc Leestemaker and I met 10 years ago, exhibited together and shared a common conviction for an artist's role in our world. He was a mentor and a voice of optimism in a land of cynics.
I created this tribute in honor of Rex Morgan and the Scientific and Cultural Facilities District in Colorado. Placed at the Performing Arts Complex in Denver, it is cut from 9 layers of limestone and inscribed with the mission to promote and preserve science and the arts for all to have access to, and to enjoy and learn from. This commission was particularly important to me, as I have been fortunate to benefit from the many opportunities that the SCFD provides.