Water Samples
2017 (ongoing)
Water from 100 Locations,
100 Glass Bottles
Each Bottle 9 in x 3 in
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This in-progress series examines water’s ability to retain information. Utilizing studies from Japanese researcher Dr. Masaru Emoto, this body of work investigates the concept of water having memory: that water makes an imprint of any outside influence, remembering everything that occurs in the space surrounding it.
Water Samples
2017 (ongoing)
Water from 100 Locations,
100 Glass Bottles
Each Bottle 9 in x 3 in
​
​
​
​
​
​
​
​
​
​
This in-progress series examines water’s ability to retain information. Utilizing studies from Japanese researcher Dr. Masaru Emoto, this body of work investigates the concept of water having memory: that water makes an imprint of any outside influence, remembering everything that occurs in the space surrounding it.
Water Samples
2017 (ongoing)
Water from 100 Locations,
100 Glass Bottles
Each Bottle 9 in x 3 in
​
​
​
​
​
​
​
​
​
​
This in-progress series examines water’s ability to retain information. Utilizing studies from Japanese researcher Dr. Masaru Emoto, this body of work investigates the concept of water having memory: that water makes an imprint of any outside influence, remembering everything that occurs in the space surrounding it.
Recording The Tide 1
2018
Sand, Pebbles, Glue, Water on Paper
27 in x 40 in
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This piece is part of a series of artwork documenting the tide of Lake Bolsena (central Italy).
Considerations taken into account were the time of day, the location on the lake, weather
patterns, and exterior variables such as currents from boats, footprints from ducks, etc.
Trantler (Tree + Antler)
June 2020
Reclaimed Wood, Bronze
12.5 ft x 4 ft
Gearhart, Oregon, USA
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The name Trantler is based on combining two predominant elements in Gearhart: the wild elk that roam the region, and the timber industry that has been a cornerstone in the Pacific Northwest since 1848. Oregon is one of the world’s great tree-growing areas so it comes natural to celebrate its contribution to the state’s economy as well as the majestic beauty of its forests. Additionally, the elk herd near Gearhart has become quite prevalent - growing from about thirty a decade ago to around one hundred and twenty members today. Both the timber industry and the elk herd have been sources of discussion within the community. The conversation regarding the environmental impacts of clear cutting versus its potential to diversify the local ecosystem is in debate. Concurrently, the dialogue around the elk herd being a charming attraction as opposed to the wild life creating safety issues still stands strong. This sculpture positions itself as an unbiased piece of artwork, aiming to observe the challenging aspects of human’s relationship with nature, and to promote critical thinking towards the connection between preserving our planet and protecting a healthy economy. The goal of the project is to bring residents and tourists together in hopes of more interaction and collaboration between each other and foster unity by showcasing varying ideologies within a community in a peaceful manner.
Trantler (Tree + Antler)
June 2020
Reclaimed Wood, Bronze
12.5 ft x 4 ft
Gearhart, Oregon, USA
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The name Trantler is based on combining two predominant elements in Gearhart: the wild elk that roam the region, and the timber industry that has been a cornerstone in the Pacific Northwest since 1848. Oregon is one of the world’s great tree-growing areas so it comes natural to celebrate its contribution to the state’s economy as well as the majestic beauty of its forests. Additionally, the elk herd near Gearhart has become quite prevalent - growing from about thirty a decade ago to around one hundred and twenty members today. Both the timber industry and the elk herd have been sources of discussion within the community. The conversation regarding the environmental impacts of clear cutting versus its potential to diversify the local ecosystem is in debate. Concurrently, the dialogue around the elk herd being a charming attraction as opposed to the wild life creating safety issues still stands strong. This sculpture positions itself as an unbiased piece of artwork, aiming to observe the challenging aspects of human’s relationship with nature, and to promote critical thinking towards the connection between preserving our planet and protecting a healthy economy. The goal of the project is to bring residents and tourists together in hopes of more interaction and collaboration between each other and foster unity by showcasing varying ideologies within a community in a peaceful manner.
virUS
Public Installation, Video
April 2020
100 Clay Roof Tiles, 1 Sledgehammer, 1 Pick Axe
10 ft x 50 ft
Los Angeles, California
To view the 1 minute 45 second video, click here
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This installation was a collaboration with artist Adam Guy to create a large scale installation in support of our global fight against the Coronavirus disease (COVID-19). The goal of this piece is to express humanity’s strength and resilience to the global pandemic, but not without the truth that accompanies it: fear, anxiety, grief and more. Clay tiles are frequently used as roofing on houses in Southern California. Listed as a give away on Craigslist they are a perfect symbol for the significance of “Home.” Lining up the tiles like dominoes, we spelled out the word “VIRUS” in 12 ft. letters then proceeded to crush the first three letters of the word with a sledge hammer and pick axe - leaving the remaining part of the word as "US.” We then documented the process via photography and video. Both of us live alone in our art studios/warehouse across the hall from each other and had been self isolating for four weeks. With social distancing in place, this installation let us share the frustration of our challenges creatively while conveying that we are all in this fight together.
The Space in Between, exhibition at the Royal Nebeker Gallery, April 13 - May 11, 2023
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What if we were to stop and listen to nature, and nature was able to communicate it’s thoughts and emotions to us? What do you think we would hear? It’s through communing with nature that we move closer to our own nature. However, people can be fearful of the space in between. They tend to dismiss it, not giving it awareness. It is often considered “empty space,” when in reality it is empty of forms, but full of formless intangibles - air, freedom, feelings, senses, and emotions. By encouraging more awareness of the space between humans and our environment, we can nurture a greater degree of understanding each other. It’s the space in between that holds all the possibilities.
It's the best when viewers relate to my work!
Trantler, 2020 - 2023
Reclaimed Douglas Fir, Bronze, 4 ft x 12 ft
Royal Nebeker Gallery, Astoria, Oregon