Archive

sculpture

My solo exhibition Color Coded recently concluded at the Engine Room Art Space in Hagerstown, Maryland. This was an excellent venue, and I really enjoyed the opportunity to exhibit the majority of the anatomically-themed sculptures and drawings from this body of work. Though I’ve taken a break from these pieces over the past couple of years, this exhibit has inspired to revisit the formal and conceptual themes of the Color Coded series in the very near future.

SaveSave

SaveSave

SaveSave

Advertisements

I had a great time in Miami last week checking out the city’s annual art fairs, marking my first visit to this city and my first time taking in an international art fair. The sheer number of art venues was mind boggling, and the range of work on display showcased the remarkable character of contemporary art. This was a truly amazing experience, and I definitely feel inspired in my own studio practice after gathering so much visual inspiration. Here’s a few highlights from this trip:

Scope International Contemporary Art Show

UNTITLED, Miami Beach

Art Basel Miami Beach

Spectrum Miami & Red Dot Miami 

Art Miami

Rubelll Family Collection

PULSE Contemporary Art Fair

Art Basel Miami Beach-Public Art Section

INK Miami Art Fair 

Aqua Art Miami 

Miami Project

In summer 2016, I received Myers Foundation research funding from the WVU School of Art and Design to create the Character Generator series, my first body of work made entirely with 3D scanning and 3D printing processes. I began this series by scanning small temporary studies made from clay, metal, wood, and other found objects, a process which unified each of these disparate constructions into a cohesive whole. This aspect of the process was quite liberating, as it allowed me to work in a direct, improvisational manner, much like creating a digital collage. My preconceived notion of 3D scanning was that it would be just like making a mold to reproduce an exact replica of an object. However, I found this process was more akin to taking a fleeting, snapshot impression of an object, and I fully embraced the distortions and digital chatter inherent to these technologies.

In fall 2016, I had the pleasure of discussing this research project at the annual Southeast College Art Conference (SECAC) in Roanoke, Virginia. My presentation, entitled Fragments of Signifiers: 3D Printing & Scanning As Digital Collage, was part of the panel discussion No Hands?: Digital Fabrication and Craftsmanship chaired by artist McArthur Freeman, with fellow artist panelists Kelly O’Briant and Ryan Buyssens. All in all, I think The Character Generator series marks a significant and very exciting step in my artistic growth. The process of assembling these sculptures imbues the Character Generator series with appealing qualities of memory, humor, and cryptic beauty, and I have no doubt this research will lead to more ambitious art making endeavors using new technologies.

 

 

 

 

 

 

In 1956, sculptor Milton Horn created carved stone pylons for the West Virginia University School of Medicine Morgantown Campus. These four towering columns contain eight carved relief scenes celebrating the history of medicine. As a tribute to his late wife Estelle, Horn donated his original plaster studies of these pylons to the West Virginia University School of Medicine Charleston Campus in 1982. In a collaborative effort between West Virginia University Health Sciences and the West Virginia University College of Creative Arts, I was commissioned to reproduce these panels for display at the West Virginia University School of Medicine Eastern Campus in Martinsburg, symbolically linking our university’s three medical school campuses. I delivered and installed the first panel in August, and the second panel was delivered in mid-October. I am on track to finish and deliver three more panels this academic year, and I expect to fully complete this project by fall 2017.

The Eastern Pylons project is one of the most challenging things I’ve ever undertaken, and I’m really pleased with the results. This project has allowed me to combine my knowledge of casting and metal fabrication methods to create large scale finished artworks, while also affording me on-the-job training in the use of new art-making materials, such as Winterstone-casting mix and Smooth-On Equinox silicone rubber mold putty. Working at this scale is certainly not a one-person job, so I am forever grateful to my student workers Cornelius Hugo, Kevin Brennan, and Matt Jarrett, as their hard work and camaraderie has been instrumental in the success of this project.

 

 

 

This past semester, I participated in a STEAM (science, technology, engineering, art, and mathematics ) education project at Morgantown’s North Elementary School. Sponsored by a grant from the West Virginia Division of Culture and History, this project had three primary components, one of which was to create a garden environment for attracting regional birds. My WVU School of Art and Design colleague Joseph Lupo helped the North students use their bird research to create mini comics, while my sculpture students and I focused on designing and building a birdhouse structure.

To begin the birdhouse component of this project, my sculpture students were tasked with creating steel butterflies, flowers, snails, and leaves, which tied into our classroom study of forging, welding, and other metal fabrication techniques. Meanwhile, 4th grade students from North were utilizing their bird research, drawing these creatures onto steel panels with chalk. I took these panels back to our studio and cut them out with a plasma torch, and then these bird panels and my sculpture students’ flora and fauna were cleaned up and painted in multiple bright colors.

I set wooden posts in concrete and built the final birdhouse structure with my friend Aaron Lutz, a WVU forestry program student working at North this year with the AmeriCorps VISTA program. The completed piece contains approximately nine birdhouses, 33 steel bird panels, 33 steel items created by my sculpture students, and a stainless steel nameplate. This project gave my students and I the opportunity to collaborate with students, teachers, and administrators at North in a truly unique manner, and out of the things I did in this amazingly busy school year, this was probably the most enjoyable project to take on.

 

 

I recently finished work on a solar tree prototype, a collaborative project between the School of Art and Design and the Lane Department of Computer Science and Electrical Engineering at West Virginia University. This yearlong endeavor involved our sculpture program working with Ramana Reddy, professor of computer science and electrical engineering in the Statler College of Engineering and Mineral Resources and his students. The overarching goal of the solar tree was to create a comfortable, shaded area, utilizing the electricity for those enjoying the tree’s shade to charge electronic devices, gain wireless internet access, and connect with its informational interface. There was a dynamic quality to this project, as it brought together individuals from various backgrounds and areas of expertise in an attempt to tackle some of the pressing issues of our time. Now that the solar tree has made its debut, we can begin the dialogue on finding this structure a more permanent home on campus and modify the prototype to make it more appropriate for long term display.

In fall 2015, I taught an advanced sculpture course in the West Virginia University School of Art and Design focusing specifically on metal casting processes. One of the assignments for this class involved creating both a cast bronze sculpture and a customized container for this sculpture. I asked the students to think of this project as a 21-st century reliquary, engaging broader conceptual issues of memory, belief, history, family, spirituality, and time. There was also a strong writing and research component to this assignment, which enabled students to develop their ideas more fully over the course of the term.

For this project, students were required to make their bronze patterns using 3D printing and scanning processes. Most of these students had never cast bronze before, so 3D printing their patterns forced them to work at a smaller, more accessible scale. This technology also helped students get intricate pattern detail much faster than conventional pattern making. In addition, PLA plastic patterns can be burned out of investment molds just like wax patterns, which allowed students to learn the most fundamental principles of lost wax casting.

Students began this project by gathering family heirlooms, memorabilia, keepsakes, and other personal objects they deemed important. Next, they used a rotational tabletop 3D scanner to record these objects. Some students worked directly, scanning items imbued with personal significance & sentimental attachment, while other students invented or modified objects that evoked these strong qualities of memory. From these scans, PLA plastic prints were created using a MakerBot Replicator Mini Compact 3D Printer. To offset the material needs of this endeavor, I was happy to receive an Academic Innovation Technology Integration Grant from the West Virginia University Teaching & Learning Commons Sandbox

Students then assembled these patterns onto wax sprue systems & embedded them in traditional plaster and sand investment molds. After the patterns were evacuated from the molds in a burn out kiln, these hot molds were transported to the foundry area and filled with molten bronze. Students then explored finishing and patina processes to clean up their bronze castings, while resolving the final version of their sculptures using a variety of fabrication, construction, and display methods. I think my students successfully bridged the gap between traditional sculpture making processes and emerging technologies with this project, resulting in some excellent solutions to the idea of a contemporary reliquary.