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Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
These shapes flirts with the grotesque — biomorphic forms that allude to Noguchi and Pesce. But it diverts rapidly from that departure point. A certain willingness to offend nature is present here, troubling the boundary between where function ends and where a sitter’s own body begins.
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
"Vincent Pocsik’s sculptural works are a study of human form abstracted down to the point of its most transformative power.
Flesh twists, contracts, pushes against bones and skin and sinew, giving way to transformations of the self and the body that
envelops it. At the core of every human figure is the torso, and as Jean Arp noted, the torso is the part of the body that holds its
true nature: removing the head from the body takes away its reasoning and only leaves the heart. It’s this primal, instinctive,
core of the self and the body, both literal and figural, that Vincent Pocsik explores in this anatomically inspired series."
Varying - email for information
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Chairlamp - Hand carved black walnut with ebonized emulsion finish. 32”D x 32”D x 72”H
OhBoullee - Hand carved black walnut, cast brass with ebonized emulsion finish. 21”D x 21”D x 24”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
ON THE MERIDIAN IS AN EXPLORATION OF IDEAS THAT SIT ALONG THE DIVIDE. ON ONE SIDE THERE IS FIGURATION AND ART, AND ON THE OTHER SIDE THERE IS PURE GEOMETRIC FORM AND FUNCTION. THE WORK IS AN ATTEMPT TO RIDE THE LINE BETWEEN THESE, RECOGNIZING THE DIFFERENCES BUT KNOWING THERE IS NO NEED TO CHOOSE A SIDE.
Vessel in Camphor burl and cast bronze.
5”D x 5”D x 19”H
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Sculptures from a residency at Maple Street Construct in Omaha Nebraska.
Carved from salvaged wood that had been used for the ground shoring for the Dakota Pipeline. The wood had stored on a farm in Iowa and had been caught on fire by an arsonist.
It is my belief that every material holds an energy within it. That energy can be stripped away, harnessed and empowered by the processes put upon it. My intent was to take the wood that was used as shoring in the building of the Dakota Access pipeline and do all of the above with it.
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D
Torso Tube on Pillar series is inspired by my fascination with the human form, in particular torso and legs and industrial tubing. Jean Arp had said that the torso was the part of the body that held true nature, removing the head from a body takes away its reasoning and only leaves the heart. I find this interesting to overlay with the form of a tube. I believe my fascination with pipes/tubes/pillar ect comes from growing up in a working class family in industrial Cleveland, Ohio. The skyline there is riddled with smoke stacks and signs of industry. There was always something beautiful about this to me, especially when in the same skyline as trees. I still hold the same fascination with tubes today, they are the heart of our modern society, they provide us with some many different things, maybe most importantly our water and surround us at a macro and micro level.
Black Walnut and Concrete
52"H x 28 x 15
53"H x 18D
53"H x 18D