Dimensions: 20.5 inches high, 6.75 inches wide, 6.5 inches deep

Material: Clay, glaze, lustre

Date: 2024

In 2024 I began a new series of sculptures to explore the theme of seeing, and being seen.  How do you see people? How do people see you? And what is your protection against being seen?   

These questions are really just another way of asking about identity, and how we judge other people, and how we are judged in return. Who are you in relationship to your family, your community,  yourself, and the world ? This is a complex question, one with ever evolving, and sometimes contradictory answers.

For the shape and posture of the figures, I was inspired by the Venus of Willendorf, as well as some very formal, highly stylized, and richly symbolic Egyptian sculptures. What would it mean to call this figure "a modern Venus?" Is this figure"cut off at the knees," or has she anchored herself? Why does she choose to view the world through heavy reflective lenses? Why does she choose to cover her ears, but leave much of herself exposed?

I like the idea of placing a figure in a very stable, almost "mountain" pose, which can convey a sense of power, but also portraying moments of nakedness, (vulnerability) and the things we wear for protection or to help us see or do better. By juxtaposing these elements of power and vulnerability, the demands of culture and the heart's desires,  I am hoping to portray some of the complexity of what it is like being a human these days.

For this new series with human figures, I used either lustre or palladium glaze, which I chose because they are highly reflective. I imagined a figure whose surface acts as a kind of mirror or shield, so that the viewer would only see a version of themselves reflected back, rendering the figure cloaked, or perhaps protected. At the same time, I've placed nearly all of the figures within significantly weighty pedestals.  These pedestals are quite literally the platform upon which they are viewed for our consideration and judgement.  At the same time, I get a chuckle out of imagining these figures careening around a room like bumper cars, and wonder if the large black rings that encircle them, might also be a choice for protecting against life's sharp corners. 

My goal has been to make a good number of studies before finally selecting one to make into a much larger sculpture.  Working this way allows me to really explore my ideas, compositions, and glaze combinations, and work out any technical issues. I first started working this way when I wanted to make a six foot tall rabbit- and it provided me with a whole warren's worth of information!

Dimensions: 17.5 inches high, 10 inches wide, 10 inches deeo

Material: Clay, glaze, lustre

Date: 2024

In 2024 I began a new series of sculptures to explore the theme of seeing, and being seen.  How do you see people? How do people see you? And what is your protection against being seen?   

These questions are really just another way of asking about identity, and how we judge other people, and how we are judged in return. Who are you in relationship to your family, your community,  yourself, and the world ? This is a complex question, one with ever evolving, and sometimes contradictory answers.

For the shape and posture of the figures, I was inspired by the Venus of Willendorf, as well as some very formal, highly stylized, and richly symbolic Egyptian sculptures. What would it mean to call this figure "a modern Venus?" Is this figure"cut off at the knees," or has she anchored herself? Why does she choose to view the world through heavy reflective lenses? Why does she choose to cover her ears, but leave much of herself exposed?

I like the idea of placing a figure in a very stable, almost "mountain" pose, which can convey a sense of power, but also portraying moments of nakedness, (vulnerability) and the things we wear for protection or to help us see or do better. By juxtaposing these elements of power and vulnerability, the demands of culture and the heart's desires,  I am hoping to portray some of the complexity of what it is like being a human these days.

For this new series with human figures, I used either lustre or palladium glaze, which I chose because they are highly reflective. I imagined a figure whose surface acts as a kind of mirror or shield, so that the viewer would only see a version of themselves reflected back, rendering the figure cloaked, or perhaps protected. At the same time, I've placed nearly all of the figures within significantly weighty pedestals.  These pedestals are quite literally the platform upon which they are viewed for our consideration and judgement.  At the same time, I get a chuckle out of imagining these figures careening around a room like bumper cars, and wonder if the large black rings that encircle them, might also be a choice for protecting against life's sharp corners. 

My goal has been to make a good number of studies before finally selecting one to make into a much larger sculpture.  Working this way allows me to really explore my ideas, compositions, and glaze combinations, and work out any technical issues. I first started working this way when I wanted to make a six foot tall rabbit- and it provided me with a whole warren's worth of information!

Dimensions: 16.5 inches high, 7.25 inches wide, 7.5 inches deep

Material: Clay, glaze, lustre

Date: 2024

In 2024 I began a new series of sculptures to explore the theme of seeing, and being seen.  How do you see people? How do people see you? And what is your protection against being seen?   

These questions are really just another way of asking about identity, and how we judge other people, and how we are judged in return. Who are you in relationship to your family, your community,  yourself, and the world ? This is a complex question, one with ever evolving, and sometimes contradictory answers.

For the shape and posture of the figures, I was inspired by the Venus of Willendorf, as well as some very formal, highly stylized, and richly symbolic Egyptian sculptures. What would it mean to call this figure "a modern Venus?" Is this figure"cut off at the knees," or has she anchored herself? Why does she choose to view the world through heavy reflective lenses? Why does she choose to cover her ears, but leave much of herself exposed?

I like the idea of placing a figure in a very stable, almost "mountain" pose, which can convey a sense of power, but also portraying moments of nakedness, (vulnerability) and the things we wear for protection or to help us see or do better. By juxtaposing these elements of power and vulnerability, the demands of culture and the heart's desires,  I am hoping to portray some of the complexity of what it is like being a human these days.

For this new series with human figures, I used either lustre or palladium glaze, which I chose because they are highly reflective. I imagined a figure whose surface acts as a kind of mirror or shield, so that the viewer would only see a version of themselves reflected back, rendering the figure cloaked, or perhaps protected. At the same time, I've placed nearly all of the figures within significantly weighty pedestals.  These pedestals are quite literally the platform upon which they are viewed for our consideration and judgement.  At the same time, I get a chuckle out of imagining these figures careening around a room like bumper cars, and wonder if the large black rings that encircle them, might also be a choice for protecting against life's sharp corners. 

My goal has been to make a good number of studies before finally selecting one to make into a much larger sculpture.  Working this way allows me to really explore my ideas, compositions, and glaze combinations, and work out any technical issues. I first started working this way when I wanted to make a six foot tall rabbit- and it provided me with a whole warren's worth of information!

Dimensions: 16 inches high, 7.75 inches wide, 7.5 inches deep

Material: Clay, glaze, lustre

Date: 2024

In 2024 I began a new series of sculptures to explore the theme of seeing, and being seen.  How do you see people? How do people see you? And what is your protection against being seen?   

These questions are really just another way of asking about identity, and how we judge other people, and how we are judged in return. Who are you in relationship to your family, your community,  yourself, and the world ? This is a complex question, one with ever evolving, and sometimes contradictory answers.

For the shape and posture of the figures, I was inspired by the Venus of Willendorf, as well as some very formal, highly stylized, and richly symbolic Egyptian sculptures. What would it mean to call this figure "a modern Venus?" Is this figure"cut off at the knees," or has she anchored herself? Why does she choose to view the world through heavy reflective lenses? Why does she choose to cover her ears, but leave much of herself exposed?

I like the idea of placing a figure in a very stable, almost "mountain" pose, which can convey a sense of power, but also portraying moments of nakedness, (vulnerability) and the things we wear for protection or to help us see or do better. By juxtaposing these elements of power and vulnerability, the demands of culture and the heart's desires,  I am hoping to portray some of the complexity of what it is like being a human these days.

For this new series with human figures, I used either lustre or palladium glaze, which I chose because they are highly reflective. I imagined a figure whose surface acts as a kind of mirror or shield, so that the viewer would only see a version of themselves reflected back, rendering the figure cloaked, or perhaps protected. At the same time, I've placed nearly all of the figures within significantly weighty pedestals.  These pedestals are quite literally the platform upon which they are viewed for our consideration and judgement.  At the same time, I get a chuckle out of imagining these figures careening around a room like bumper cars, and wonder if the large black rings that encircle them, might also be a choice for protecting against life's sharp corners. 

My goal has been to make a good number of studies before finally selecting one to make into a much larger sculpture.  Working this way allows me to really explore my ideas, compositions, and glaze combinations, and work out any technical issues. I first started working this way when I wanted to make a six foot tall rabbit- and it provided me with a whole warren's worth of information!