"First Breath" Cicada Vessels Clay, glaze 15 in. h. x6.5 in. w. x 7 in. d. 2016 I based this pair off of cicadas when they are just emerging from their old exoskeleton/ shells. How fresh the air must seem- thought it fitting fot the New Year. I made these for my father and his youngest sister- who are indeed a pair.

"First Breath" Cicada Vessels Clay, glaze 15 in. h. x6.5 in. w. x 7 in. d. 2016 I based this pair off of cicadas when they are just emerging from their old exoskeleton/ shells. How fresh the air must seem- thought it fitting fot the New Year. I made these for my father and his youngest sister- who are indeed a pair.

Clay, gesso, oil paint 14.5" x 6,5" x 5" "This Plank My Burden" is a figurative vessel inspired by my Catholic upbringing. The phrase "This Plank My Burden" is incised into the clay around the figure's head, as well as on the cuffs around the hands. At heart level is a jailer's grate for ventilation.

profile view

Clay, gesso, oil paint 15" x 3.75" x 4" "Time is Not Enough" was inspired by relatives demanding fresh children. The figure wears a bandit's mask, and is constantly made aware of her situation through the gauge on her belly that monitors "Speed" and "Pressure." Ova surround her like bees. A pair of rabbit's ears keep her attentive.

Clay, gesso, oil paint 10.5" h. x 3.5"w x 4"d. "I am What Holds Me Down" is the clay embodiment of the realization I have in the face of all my foibles. Owl-like, the figure seems perched for flight- but where there should be wings are a pair of gray hands draining the color out of its feathers and holding it down.

Detail view

Clay, gesso, oil paint, rope 14.5" x 7.5" x 3.5" "Premature Cull" is a figurative vessel inspired by stories of local oyster fishers. The vessel mimics the form of the Canaanite burial pods I've modeled my sculptures after for years, but also resembles the color and texture of the oyster itself. The expression is of one who is pulled too soon.

Self Totem, female - clay, glaze, underglaze. H 22 1/2" W 6" D 8 1/2 "

Self Totem, male - clay, glaze, underglaze. H 22 1/2" W 6 1/2" D 8 "

Clay, paint, composite wire, freshwater pearls

I made this sculpture out of clay, fired it, then finished it with an acrylic base and oil paints. It is entitled "Messenger." If you look closely at the photo, you can see "messenger" incised on the figure's orange chest. I got inspired to make this piece after looking at some West African wooden sculptures used in rituals... I hollowed out his trunk to make a place for a sacred thought- he rides a rocket/ bullet into space - dressed in astronaut gear- launches a message out into the universe and reminds the maker/sender to remember it. I have always been interested in personal rituals and the way we choose to honor ideas/events/people.

This piece is a censor: it is hollow with an opening in the back for sage or a cone of incense to be burned- smoke flows out of the figure's mouth.

This is the first of a series of night axes- ritual clay axes to be used in the world of dreams and imagination. Of course, these weapons shatter when used in the "real" world. Incised near the top of the shaft is "Consume My Excesses." For every problem there is the right tool, and if you don't have it, make one.

Clay, gesso, oil paint Each piece approx., 12 in. h. x 4 in. w. x 4 in. d. "Inside Innocente X" is a more recent piece, also inspired by Bacon and Velazquez.

Clay, gesso, oil paint 14.5 in. h. x 4.75 in. w. 6 in. d. This pieces was selected by juror Adrian Arleo for the show "Looking at Ourselves: A Survey of Contemporary Figurative Sculpture" at the Baltimore Clayworks in Fall of 2014.

Clay, gesso, oil paint 15 in. h. x 5 in. w. x 5 in. d. This piece was inspired by a Medieval ossuary I viewed at the Walters Art Museum in Baltimore. Although elaborately worked in precious metals and jewels, the piece resonated with me because of its relationship to the human body. The figure here is inspired by a proud friend from Pine Ridge Reservation in South Dakota.

Clay, gesso, oil paint 14.5 in. h. x 4 in. w. x 4.5 in. d. The title is from T.S. Elliot, a reminder of the creative and destructive nature of our world and ourselves.

Clay, gesso, oil paint 16 in. h. x 5 in. w. x 5 in. d. Part owl, part human, a watcher in the night.

Clay, gesso, oil paint 14.5 in. h. x 5 in. w. x 5 in. d. A reminder that even the most world weary posses an inner temple

Clay, gesso, oil paint 11 in. h. x 4.5 in. w. 4.5 in. d. Two hands, inscribed with the word "penury" squeeze the figure from either side until he is ready to blow his lid.

Clay, gesso, oil paint 16 in. h. x 5 in. w. x 5 in. d. Eyes closed to the world, safe in her cage, the figure sleeps. At heart level is the jailer's grate- a symbol I use often in my work. The title is taken from the graffiti someone has scrawled upon her; someone asserting their own identity.

Clay, gesso, oil paint 17.5 in. h. x 4.75 in. w. x 4.5 in. d. The title is from T.S. Elliot. A lotus grow out of the head of the figure. Inscribed in a band across its forehead is "in my end is my beginning."

Clay, gesso, oil paint 15 in. h. x 5 in. w. x 5 in. d. This piece is sibling to "Prize of Bones." Both were inspired by my experience on the Pine Ridge Reservation in South Dakota. The slats inside the figure are both ladder and cage.

Large Votive Rabbit Clay 54 in. h. x 27 in. w. x 25 in. d.

Votive Rabbit Clay, glaze 17 in. h. x 6 in. w. x 6 in. d. 2016 In 2016 I started a series of rabbits inspired by the ancient Sumerian votive figures. While these rabbits are somewhat naturalistic, I changed the position of the eyes to be more forward facing, more human. The rabbit's arms are encircling a hole in its chest, an inner sanctum. Its ears are at attention- with the left one cocked in a perpetual twitch-always listening. This particular rabbit is also a functioning jar.

"The Wedding Party" CLay, glaze Variable sizes: smallest is 4.75 in. h. x 1.5 in. w. x 2.75 in. d., largest is 9 in. h. x 2.5 in. w. x 3 in. d This set of 12 votive rabbits are functioning incense burners. I was inspired to make these after viewing Sumerian votive figures at the Met. Smoke from the incense in these ritual figures streams out of the "rabbit hole" in the front.

The Wedding Party, detail, bride and groom Clay, glaze 9 in. h. x 2.5 in. w. x 3 in. d. (groom) 7.5 in. h. x 2.25 in. w. 3 in. d. (bride)

A cone of incese can be placed in the back of these functioning incense burners. Smoke curls out of the "rabbit hole" in the front and surrounds the figure.

Clay, glaze 4.75 in. h. x 1.5 in. w. x 2.75 in. d.

Votive Rabbit, clay, underglaze, glaze H 23" W 5 3/4" D 7 1/2 "

Votive Rabbit, clay, underglaze, glaze H 23 1/2" W 6" D 8 "

Votive Rabbit Supreme, Clay, paint H 36" W 14" D 16 "

This clay pendant is part of my Creative Explosion Series. I was inspired by Yolandis Visser (of Die Antwoord). Bold and innovative, she defies convention and pushes her art forward in new and unexpected ways. I imagined the pieces in this series as fragments, or remnants of a creative explosion - a shattering force that forges something new. This "fragment" is made out of clay, and is painted with silver and gold enamel.

The title of this small pendant sculpture is "Pan cries at the spoiling of the earth." I am often inspired by Greek mythology, and I imagined poor Pan today seeing the destruction of the environment. Pan is 2.25 inches tall, 1.9 inches wide, and 0.9 inches deep. I sculpted the figure out of clay, fired it, then finished it with acrylic paints in various shades of brown, white and green. He has two small white horns emerging from his brown curls, and green and tawny faun ears. The pendant hangs from two strands of black waxed cotton cord (approximately 17 inches). The finding is a nickel-free lobster clasp and ring.

Getting Out of Hand, Clay, underglaze, glaze, thread. H 4" W 2 3/4" D 2 3/4 "

Cheshire Cat, clay, underglaze, glaze H 4 3/4" W 5 1/4" D 1 1/2 "

Smoking Caterpillar, clay, underglaze, glaze H 5 1/4" W 4 1/4" D 1 1/2 "

Figure in Pink Bunny Costume Necklace, clay, underglaze, glaze, cord.

The Knave brooch

The Looking Glass brooch

White Rabbit figure necklace

Clay, glaze 2.5 in. h. x 1.5 in. w. x 2.5 in. d.

clay, glaze 5.5 in. h. x 2.5 in. w. x. 3 in. d.

Clay, glaze 3 in. h. x. 1.5 in. w. x 0.5 in. d. These were inspired by an exhibit of ancient weights I saw at the BMA. Merchants and traders used to carry around small weights as a their base line for measurement of goods. The weights were often made out of bronze, iron, or a base metal, and were in the shapes of animals, people, buildings, wheels, and sometimes abstract shapes. I like to think of these small figures rattling around in an ancient trader's pocket.

Clay, gesso, oil paint, vines, acrylic paint 6.5 in. h. x 6 in. w. x 7.5 in. d. Half woman, half owl, the figure watches and waits.

Clay, gesso, oil paint, vines, acrylic paint. 5 in. h. x 9 in. w. x 5.5 d. The shape of this figure was modeled after an occarina, an often handmade whistle or wind instrument popular in Latin America.

Clay, gesso, oil paint, sticks, vines, acrylic paint. 16.5 in. h. x 6 in. w. x 1.5 in. d. The handle is shaped into an owl, the whisk an outstretched hand. Inspired by many years serving delicacies to those with insatiable appetites.

Clay, gesso, oil paint 9 in.h. x 4.25 in.w. x 2.4 in. d We all dream of something (or someone?) we can't have. At the top of the piece "Do Not Disturb" is incised into the clay.

Clay, gesso, oil paint 12 in. h. x 5 in. w. x 2 in. d. For all you perennial wallflowers...

Clay, gesso, oil paint. 12 in. h. x 5.25 in. w. x 1.4 in d. A suicidal bird contemplates his lot upon the city's cliff. "W___ E___ weighs his options." is incised into the clay at the top.

Clay, polished graphite, sealer 15 in. h. x 5.5 in w. x 6.5 in. d. Coiled around the figures is a snake, whose head has been transformed into a hand that strokes the face of the woman. Below her is another figure, screaming to be born.

Clay, polished graphite, sealer 16.5 in. h. x 4.75 in. w. x 5 in. d.

Clay, polished graphite, sealer 16 in. h. x 5 in. w. 5 in. d. The figure's expression is one of horror. Below her is the impression of a snake fossilized in the earth, its curves winding like a river. Below that is graffiti- someone has scrawled the word "coward" on the body of the sculpture.

Clay, polished graphite, sealer 18.5 in. h. x 5 in. w. x 5 in. d. A snake ready to strike guards the figure, who is flanked by a set of wings.

Clay, polished graphite, sealer 19 in. h. x 5.5 in. w. x 5 in. d. A watchful owl is perched upon the figure. Inscribed into the clay hundreds of times is the word "retribution."

Clay, polished graphite, sealer 18 in. h. x 5.75 in. w. x 5.5 in. d.

Clay, polished graphite, sealer 16.5 in. h. x 6 in. w. x 5 in. d.

Clay, polished graphite, sealer 16 in. h. x 6 in. w. x 5 in. d.

Clay, polished graphite, sealer 18.5 in. h. x 5 in. w. x 5 in. d.

Clay, polished graphite, sealer 13 in. h. x 5 in. w. x 5 in. d. The phrase "Bear, burn" is inscribed into the clay band that binds the figure hundreds of times.

Clay, gesso, polished graphite, sealer 10.5 in.h. x 4 in. w. x 4 in. d. A pair of hands, inscribed with the word "allow" hundreds of times, embraces the figure from the back and sides.

Clay, gesso, polished graphite, sealer 17.5 in. h. x 5 in. w. x 5.5 in. d. This piece was selected for the Maryland Art Place's 2014 Saratoga Toga Party benefit and auction.

Clay, gesso, polished graphite, sealer 13.5. in. h. x 6 in. w. x 5 in. d.

Clay, gesso, oil paint 17 in. h. x 5 in. w. x 5 in. d.

Clay, gesso, oil paint 13.5 in. h. x 5.75 in. w. x 5.5 in. d.

Clay, gesso, polished graphite, sealer 11 in. h. x 6 in. w. x 5 in. d. The inside of the vessel is painted sky blue.

Clay, gesso, polished graphite, sealer 24 in. h. x 11.5 in. w. x 8.5 in. d. For better listening/ absorption, the mouth has been removed.

Clay, gesso, polished graphite, sealer 16 in. h. x 5 in. w. x 5 in. d.

Clay, gesso, polished graphite, sealer 11 in. h. x 5.5 in. w. x 5 in. d.

Clay, gesso, polished graphite, sealer 16 in. h. x 5 in. w. x 5 in. w.

Tabernacle of the Invisible Girl Clay, glaze 16 in. h. x 9.5 in. w. x 6.5 in. d. I made this tabernacle in the form of a moonshine jug, with the traditional white and brown glaze- (there is a handle in the back.) Written in cursive on the front is "Drink me." The cork for the jug becomes the head for the surrounding figure. This outer shell is what the"invisible girl" shows to the world. This public figure's arms are outstretched, her very body a vessel to be imbibed. She invites us to drink her in. Traditionally, there is a door to an inner sanctum in the middle of a tabernacle. Here, in this moonshine jug/tabernacle, where the inner sanctum would be is an alcove where "the invisible girl" is kept. With her fair hair, white apron and pale blue skirt and headband, she somewhat resembles the Disney version of Alice in Wonderland; but she is disheveled, missing a shoe, and her clothes are stained. She is perhaps more like what a real life Alice might look like after falling through a hole, and trying to perform an impossible task. I thought a lot about how we present different versions of ourselves to the outside world based upon society's expectations. What are we willing to give, or who are we willing to put away to fulfill those expectations?

Traditionally, there is a door to an inner sanctum in the middle of a tabernacle. Here, in this moonshine jug/tabernacle, where the inner sanctum would be is an alcove where "the invisible girl" is kept. With her fair hair, white apron and pale blue skirt and headband, she somewhat resembles the Disney version of Alice in Wonderland; but she is disheveled, missing a shoe, and her clothes are stained. She is perhaps more like what a real life Alice might look like after falling through a hole, and trying to perform an impossible task. I thought a lot about how we present different versions of ourselves to the outside world based upon society's expectations. What are we willing to give, or who are we willing to put away to fulfill those expectations?

Tabernacle of the Insatiable Beast Clay, glaze 13.75 in. h. x 6.75 in. w. x 6 in. d The figure in "Tabernacle of the Insatiable Beast" gasps for air, and throws his hands out in a gesture that says "No more!" He is being slowlly smothered by his own corpulent body, while the beast who lives within demands more. I made the figure's torso to resemble red meat. This figure, at least in concept, is a partner to "Tabernacle of a Thousand Wants." Both are vessels to contain the "never enough."

Tabernacle of the Calcified Heart Clay, paint 11 in. h. x 4.5 in. w. 5 in. d. The figure in "Tabernacle of the Calcified Heart" is slowly being trapped within her own bones. Her skeleton rests over her like a suit of armor, or a cage. Mounds of bone have grown over her ears. She has opened the door to her inner sanctum and is horrified to find that her own heart has begun to calcify. She holds it in her hand and wonders "How did this happen?"

Tabernacle of the Calcified Heart, detail Clay, paint 11 in. h. x 4.5 in. w. 5 in. d. The figure in "Tabernacle of the Calcified Heart" is slowly being trapped within her own bones. Her skeleton rests over her like a suit of armor, or a cage. Mounds of bone have grown over her ears. She has opened the door to her inner sanctum and is horrified to find that her own heart has begun to calcify. She holds it in her hand and wonders "How did this happen?"

Clay, gesso, oil paint. 16" x 4.75" x 6" "Storm Tabernacle" was inspired by my experiences during Hurricane Katrina. In designing the piece, I looked at Hokusai's print "The Great Wave off Kanagawa." "Storm Tabernacle" depicts two hands grasping in the center of the piece, surrounded by a hurricane symbol, waves and a distressed figure.

Clay, paint, gold leaf 18.5 in. h. x 10.5 in. w. 6.5 in. d. The figure's eyes are covered with gold- her expression like a tragic mask- unable to live an authentic life because her delusion of never having enough drives her to constantly want more. But perhaps there is hope- the door to the inner sanctum is open- open to change...

13 in. h. x. 4.75 in. w. x 3.75 in. d. Clay, glaze I made "Tabernacle of the Unknowable Womb" in response to the mystery of new life and transformation- in all its incarnations. This sculpture was based off of a cowrie shell- which was regarded as a fertility symbol in ancient societies throughout Africa.

"Cast Your Pearls before Pigs" Clay, paint, composite wire, freshwater pearls