Sublimation within a Golden Mean

Gold flakes, linseed oil, powdered pigment, and bison wax on canvas. 30”h x 47”w x 2”d.  2010.

This work represents the physical act of painting within boundaries defined by the golden ratio with layered waves of light and dark pigment. A patina caused by the use of metallic flakes continues to deepen the lighter area and emphasizes the passing of time.

Logarithmic Spiral, Rockaway Beach

Sand. Dimensions variable.  2011.

This work represents a logarithmic spiral that approximates the golden ratio with equiangular progressions of shoulder-width strides that originate from a single point and terminate at the littoral edge. Ongoing variations further explore the concepts of proportion, sublimation, temporality, and universal interconnections.  
Trylon and Perisphere, Fort Tilden

Driftwood. Dimensions variable. 2012.

This assemblage is named for the iconic temporal structures built for the 1939 “World of Tomorrow” exposition in Queens. Ongoing variations follow a formulaic process: clearing the area of litter, the curatorial selection of material brought forth by the sea, and the composition of selected materials according to the interrelationships between the components and their existing characteristics.

Bertha Mars Fossillator (The Harmonic Crusade or So It Goes)

Mixed-media. 72”h x 33”w x 55”d. 2012.

This collaborative work with sound artist Tim Fodness draws inspiration from Kurt Vonnegut’s “Slaughterhouse Five” and György Doczi’s “The Power of Limits”. Both the audio and visual components are representations of harmonic interrelationships in perpetual motion.

The Harmonic Component System (Prototype I)

Ash. 72"h x 29"w x 18"d.  2011.

This is a hardwood furnishing series of nine interlocking modular components that form user-defined configurations at standard utility heights. The platform and height dimensions embody the golden ratio which describes the proportion of one larger unit (a) relative to a smaller unit (b) and the relative proportion of the former unit to the sum of both units (a + b).

The Harmonic Component System (Prototype I)

Ash. Dimensions variable.  2011.

The nine modular components arranged into a café bar with two bar stools are composed of three individual platform sizes (11” x 18”, 18” x 18”, and 18” x 29”) of three heights (7”, 11”, and 18”). Pairing the units form multiple configurations at standard heights: 42”h. standing bar, 36”h. counter, 30”h. bar stool/dining table, 24”h. counter stool, 18”h. side chair/table, 11”h. step stool, and 7”h. foot stool.

Click here for animation.
The New York Arbor Joint System (Prototype II)

Video. 1m 23s.  2013-14.

In this redesign, the bottom rails have been lowered to a consistent height, a bottom shelf has been added, and the 18” x 18” and 18” x 29” platforms have been replaced by wall-mountable utility surfaces.   

The New York Arbor Joint System (Prototype II)

Dyed poplar, walnut, 
and leather. Dimensions variable. 2013-14.

The three modular units on the left are at a 36” counter height with a 20” square tabletop adaptor and the two on the right are at a 24” counter stool height with a removable upholstered cushion. Four 29” x 29” detachable tabletops, in colors representing (left to right) water, wood, fire, and metal rest securely on 10” x10” hardwood supports fixed with D-ring hardware that hang from the wall.

​The New York Arbor Joint System (Prototype III)

Dyed poplar.  Dimensions variable.  2013-14.

Redesigned units are shown at 30” dining table height (center) and two 18” side chair heights. A single tabletop form that fits directly on the unit has replaced the tabletop adaptor, the legs and rails of the units have increased from 1” to 1-5/8”, and the platform area has broadened from 11” x 18” to 18” x 18”.

​The Owl and the Pussycat

Headdress. Acrylic, rice paper, and wire.  2012.

Not pictured: Piggy-Wig with a ring at the end of his nose and the Turkey who lives on the hill.
Dealing with Dystopian Development (If the D is for Diamonds then Run the Jewels)

Socrates Sculpture Park Fellowship proposal.  2015.

Click here for PDF

​New York Arbor Workshop, Industry City, Brooklyn

Tools. ±800 sf.  2009-15.

This is the commercial space in the sprawling industrial complex where, in 2009, I declared sole proprietorship of an atelier dedicated to mindfully crafted furnishings and set about learning every aspect of what that endeavor might require.  

Click here for a ten chapter, fifty-five page memoirfesto. 

​New York Arbor, Rockaway Park, U.S.A.

Storefront. ±800 sf.  2015.

We are very thankful to have taken ownership of the former Fecund Clown
studio to establish an artist-run venue for local creatives to display and sell their work.

It is our hope that we will be a functioning gallery for painting, sculpture, and handcrafted wares by 2016.