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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
Hand carved black walnut with ebonized emulsion finish.
32”D x 32”D x 61”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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
The process in Torso Vesselsis to overlay a figure onto a cylindrical form, starting first as a flat watercolor and then becoming a sculpture.
Currently on view at A+D Museum in Los Angeles CA
Carved Walnut
16" x 24" x 30"
16” x 16” x 30”
16” x 16” x 30”
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.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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 CHSE A SIDE.
Hand carved black walnut with de-saturated and aged finish.
29”D x 29”D x 32”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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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.
Hand carved black walnut 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
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
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 11”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
8”D x 4”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
18”D x 10”D x 113”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
From the Long Ago, Far Away series.
"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 is 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."
Hand carved from burnt ground shoring, which was used during the construction of the Dakota Pipeline.
25”D x 10”D x 37”H
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents
Natural Oil
Ebonized with Natural Oil
96”L x 46”W x 32”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with hand molded leather pouch and solid brass accents.
Natural Oil
Ebonized with Natural Oil
54”L x 36”W x 18”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass accents.
Natural Oil
Ebonized with Naturual Oil
23” Diameter x 22”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
36" x 17" x 18"H
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
36" x 17" x 18"H
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
36" x 17" x 18"H
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
36" x 17" x 18"H
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
36" x 17" x 18"H
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
36" x 17" x 18"H
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
36" x 17" x 18"H
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Carved laminated walnut with leather cushion, leather bound footrest and solid brass accents.
Natural Oil
Ebonized with Natural Oil
Bone
15” x 17”D x 24”H
15” x 17”D x 30”H
15” x 17”D x 36”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
6.25”D x 5”D x 10.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Hand blown glass with solid brass hardware.
Opal white
Flesh
Dark grey
11.5”D x 10.5”D x 11.5”H
Download Cut Sheet PDF
Carved walnut
Food safe natural oil and wax
21” x 12” x 1.5”H
48" x 36" x 2"H
Carved walnut
Food safe natural oil and wax
21” x 12” x 1.5”H
48" x 36" x 2"H
Carved walnut
Food safe natural oil and wax
21” x 12” x 1.5”H
48" x 36" x 2"H
Carved walnut
Food safe natural oil and wax
21” x 12” x 1.5”H
48" x 36" x 2"H
Carved walnut
Food safe natural oil and wax
21” x 12” x 1.5”H
48" x 36" x 2"H
Carved walnut
Food safe natural oil and wax
21” x 12” x 1.5”H
48" x 36" x 2"H
Carved walnut
Food safe natural oil and wax
21” x 12” x 1.5”H
48" x 36" x 2"H
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze and turned Walnut / Maple
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Carved laminated walnut with solid brass detail
Natural Oil
Ebonized with Natural Oil
14” x 8” x 1.25”H
Download Cut Sheet PDF
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Cast Bronze
Inspired by the simplicity of Japanese design and the beauty of decay. My obsession with decay is based on finding different expressions of beauty. I love the way a material wears down slowly overtime. In this particular instance I was looking at decay by way of fire. I wanted to capture the moment of something that has been melted and then solidified into its new form. This intense moment is then balanced by a simple form with pleasant proportions.
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
20”H x 5"
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
3.5” x 3.5” x 9”H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
3.5” x 3.5” x 9”H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
3.5” x 3.5” x 9”H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
3.5” x 3.5” x 9”H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
3.5” x 3.5” x 9”H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
3.5” x 3.5” x 9”H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
3.5” x 3.5” x 9”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
27.25” x 12.5” x 2.5”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
27.25” x 12.5” x 2.5”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
27.25” x 12.5” x 2.5”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
27.25” x 12.5” x 2.5”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
27.25” x 12.5” x 2.5”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
27.25” x 12.5” x 2.5”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
27.25” x 12.5” x 2.5”H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
6”D x 3.5H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
6”D x 3.5H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
6”D x 3.5H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
6”D x 3.5H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
6”D x 3.5H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
6”D x 3.5H
Carved wood with cast bronze
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
6”D x 3.5H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
18” x 6” x 4”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
18” x 6” x 4”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
18” x 6” x 4”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
18” x 6” x 4”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
18” x 6” x 4”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
18” x 6” x 4”H
Carved wood with machined brass
Made exclusively in collaboration with Lawson-Fenning
Ebonized Walnut
Bleached Maple
18” x 6” x 4”H
Cast Bronze
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
8.125” x 3.5” X 1”H
Cast Bronze
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
8.125” x 3.5” X 1”H
Cast Bronze
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
8.125” x 3.5” X 1”H
Cast Bronze
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
8.125” x 3.5” X 1”H
Cast Bronze
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
8.125” x 3.5” X 1”H
Cast Bronze
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
8.125” x 3.5” X 1”H
Cast Bronze
Made exclusively in collaboration with Lawson-Fenning.
Polished and Aged
8.125” x 3.5” X 1”H
