Statement


Early on I saw similarities between Sculpture Foundry and Metalsmithing Jewelry. In both cases I transformed an idea from concept to reality out of carved wax and burnable objects. I plaster coated the original, kiln fired it, melted metal, and poured it into the negative space. I discovered that jewelry and sculpture could be the same and when I bridged the two together, I created a new body of work: wearable art + small sculpture = Sculpturings.

My methods involve a process called kitbashing, where I assemble wax and found burnable objects reminiscent of childhood toys, game pieces, organic materials, and imported miniatures to convey a narrative or story. Recycled objects and elements find their way into the mix and new life is breathed into discarded items that become precious metals, literally turning trash into treasure.

Observing peoples’ habits helps me understand why my work is being created, what purpose my work serves, and what role my entire body of work plays in the mix of it all. Early on I discovered my rings offer extended experiences that spread beyond the wearer. When a piece is worn in public, it’s eye catching to others that come in contact with the wearer. A dialogue is sparked about the ring as an observer asks the wearer what the piece means. This opens a door to discussion about the message and narrative of the piece, encouraging an exchange of communication, opinions, and ideas between two people. This extended experience is powerful, effective, engaging, and is the main motivation behind my overall body of work.

My work reflects our understanding of human ingenuity, behavior, and habits. While emphasis on functional design is present, sculptural form and substance of message takes priority, whether politically, allegorically, or satirically driven. Societal events, celebrations, and challenges evolve with each passing year, and my work sums up our modern world with layered narratives and fresh concepts.

Each piece is shown with magnifying glasses and its own professional display which frames and finishes the ring in a gallery setting. A hand blown glass cloche dome, black acrylic base, and armature. Underneath the base, a circular aluminum plate is engraved with the piece’s title, medium, weight, artist signature, year, and edition number. In addition, the signed, fingerprinted, numbered, and dated documentation for provenance (including piece specifics, exhibitions list, etc.), completes each ring as a fully realized work of art, from conception to execution.


On the Body of Work:

Our complex world and the societies and cultures that inhabit it is the overall motivation for my body of work. The act of observing helps me figure out why I'm here and for what purpose, attempting to understand my role inside or outside of society. Ultimately each piece is a reflection of understanding human ingenuity, behavior, and habits. While emphasis on design is present, sculptural form and substance of message takes priority, whether politically, allegorically, or satirically driven. Societal events, celebrations, and challenges evolve with each passing year, and my body of work sums up our modern world with layered narratives and fresh concepts.



On the Display:

I approach my work with the same intensity as a painting. In the same manner a frame finishes a painting, the sculptural display frames and finishes the ring. The frame is a hand blown glass cloche dome, engraved aluminum black acrylic base, and armature so the piece appears to be floating. Underneath the base, a circular aluminum plate is engraved with the piece’s title, medium, troy oz. measurement, the artist's engraved signature, year, and edition number.


In addition, the included signed, fingerprinted, numbered, and dated documentation card for provenance completes each one as a fully realized work of art, from conception to execution.


In a gallery setting, the work is shown with magnifying glasses, allowing the guest to view my work up close and personal. These interactive properties create intrigue and satisfies curiosity while viewing smaller details. The intent is to intimately connect viewer to piece, just as much as wearing one and making contact with skin. The presentation is evolved beyond traditional jewelry displays, so the work is appreciated and considered as a standalone sculpture when not worn.



On Functional Design:

Each piece is designed and intended to be worn as a piece of contemporary fine art jewelry. I put forth great care in making sure the piece is comfortable on the finger and that the weight is evenly displaced to limit falling to one side when worn.



My work sometimes has 2 holes, quickly becoming a recognizable design element of mine. The round holes fit with the armature pegs for display, which are easily inserted through the piece and enjoyed as a small standalone sculpture when not worn. Born of necessity, the pegs stabilize the piece when suspended under glass, eliminating it from falling, tipping, or spinning off the armature. The piece remains stable and secure thanks to good design.



On Collecting:

Each piece is hand carved, waxed, assembled, cast, and polished, making each one unique, even if in a limited edition. The value of the piece will naturally appreciate, by using precious metals as my main medium, intrinsic value is always built in and consistently grows with the precious metals and luxury market. I feel this reassurance removes the guesswork and worry of investing, the monetary focus on the work is released, and attention is redirected to each piece's theme, skill, composition, and message instead. With the collector in mind, each piece comes with complete documentation including piece specifics, exhibitions list, etc.

An avid art collector myself, I create works with the savvy collector in mind, and by providing accurate and highly detailed documentation for each piece, provenance is a cinch. 

The Sculpturings body of work honors eccentric collectors of silver sculpture such as Sam Wagstaff and Andy Warhol, both of whom had desires to shine an artistic spotlight on silver sculpture, but neither had the chance due to early deaths.



On the Bridgism Movement:

Bridgism describes bridging craft and fine art- blurring the line so the line doesn't exist or matter, equalling the playing field, where both are recognized and revered. The applied arts in academic institutions, fine art galleries, and mainstream consciousness can be given their true place within an art history context.

Bridgism summarizes the current crossover in the worldwide art scene. Applied artists are getting their work shown in fine art shows and galleries, and established fine artists are dabbling in, and experimenting with the applied arts. More galleries are following suit, opening their arms, doors, and collecting clientele to art jewelers.

The resurgence of artists today is reminiscent of the Victorian Arts and Crafts movement of the 1980’s, the Pasadena Arts and Crafts movement of the 1920’s, the German Bauhaus movement of the 1930’s, and even the American Arts and Crafts movement during the 1960’s. This sub-movement of the Third Wave movement has the ability to change the mainstream collective view so jewelry is accepted as a conduit of high fine art.