As an artist, I am deeply committed to making resolved and beautiful things that, in combination with particular places. create environments of introspection and wonder.
These installations have taken many forms; Viking ships illuminated and suspended above eleven tons of rock salt, a forty foot long burnished copper tree suspended above a fleet of small Egyptian funerary boats carrying seeds of cast copper or a 14' tall asymmetrically sculpted beehive with an interior environment of suspended blown glass vessels holding honey.
In each piece I strive to manifest liminal forms of passage, preservation or spiritual dwelling. I combine elements of biology, history, and archetypal form to investigate the deep but still buoyant mythological questions -- Who?, Where? Why? and importantly What happens after the last breath leaves our lungs?
Re • Sound, Boston Sculptors Gallery. Boston, MA. 2011
Indoor installation featuring 83’ horn of wooden pine, steel and fabric with collected sound recordings of gallery audience reflecting on the question “What really matters?”
Working For Passage, Boston Sculptors Gallery. Boston, MA. 2009
Installation of suspended cut pine and still objects of bronze.
In Translation, Boston Sculptors Gallery. Boston, MA. 2006
Installation of arched beeswax chamber (200 lbs.) with projection of bees and works in cast bronze.
Point of Departure, Boston Sculptors Gallery. Newton, MA. 2002
Installation featuring a thousand folded paper boats (6” – 8” L) with cargo of donated and collected ash (burned love letters, ash from fireplaces, ash from burned buildings, ash from camping fires) suspended and flying within arched ceiling of Chapel Gallery. Piece intended as meaningful response to events of September 11th. Additional installation featured room of cast bronze objects as testimony to resiliency of things precious and temporary.
Apairy, DeCordova Museum and Sculpture Park. Lincoln, MA. 2000
Indoor installation featuring 14' high bound straw structure in the shape of inverted boat hull/beehive/slumped meringue. Experienced both as a sculpture/object the piece also offered an interior environment with suspended vessels of blown glass holding honey collected from different New England Beekeepers and preserved seeds and flowers. Installation included sound element of bees working and flying.
Crossing Over, Boston Sculptors Gallery. W. Newton, MA. 1999
Installation in darkened Chapel featuring a 40' long burnished copper elm tree horizontally suspended above a fleet of small resin boats modeled after Egyptian Funerary boats. Appearing as a constellation within the darkened chamber, each of the 30 vessels were individually illuminated and carried a single seed of cast copper. Shadows of boats and seeds projected on the Chapel floor. Piece included sound element of low frequency melodic tones.
Means of Egress, Boston Sculptors Gallery, Newton, MA 1995
Installation with 5 illuminated 16' - 18' Viking funerary boats suspended within heavily arched wooden church ceiling. Water tanks within the hulls of two boats generated sounds of moving water while 11 tons salt covered 30' x 50' gallery floor.
This project involved the participation of over 60 people who helped build the boats, egress vessels from my 3rd floor studio, and install the boats within the upper arched ceiling of the church. In addition over 40 people helped to carry the 11 tons of salt donated by Eastern Mineral Salt (Chelsea MA) into the gallery.