Inspired by computer models of fluid dynamics of turbulence and the landscape of baroque drapery, these oil paintings explore the momentary spaces and structures of of collisions and explosions.
“Dragons of Absence”, 2023, Oil on Canvas, 36 X 48 inches
Event Boundary, 2023, Oil on Canvas, 48 X 72 inches
a tomorrow without a yesterday, 2022, oil on canvas, 48 X 36 inches
“alternative maps”, 2023, Oil on Canvas, 36 X 48 Inches
“high energy relic”, 2022, Oil on Canvas, 36 X 48 inches.
negative zone, 2022, Oil on Canvas, 18 X 24 inches
“half life”, 2022, Oil on Canvas, 18 X 24 inches.
“rainbow bridge” 2021, Oil on Canvas, 48 X 36 in.
“language of sedimentation”, 2021, Oil on Canvas, 48 X 36 inches.
“midnight engine”, 2021, Oil on Canvas, 48 X 36 in.
“ellipsis of battle”, 2021, Oil on Canvas, 48 X 36 inches.
untitled, 2022, 48 X 36 in. Oil on Canvas
“kingdom of surfaces”, 2021, Oil on Canvas, 48 X 36 inches.
“the machinery concealed beneath”, 2021, Oil on Canvas, 48 X 36 inches.
“the boundary of negative curvature”, 2021, Oil on Canvas, 48 X 36 inches.
the decaying structure of gold, 2021, Oil on Canvas, 48 X 36in.
“minimum resistance of vapor”, 2021, Oil on Canvas, 48 X 36 inches.
a measured portion of eternity, 2021, Oil on Canvas, 36 X 48 in.
the illusion of motion, 2020, Oil on Canvas, 30 X 40 in.
green oscillation, 2020, Oil on Canvas, 48 X 36 in.
the lowest point of equilibrium, 2020, Oil on Canvas, 48 X 36 in.
automatic inscriptions, 2020, Oil on Canvas, 48 X 36 in.
below the false horizon, 2020, Oil on Canvas, 36 X 48 in.
airless box, 2020, Oil on Canvas, 24 X 36 in.
"narrative collapse", 2020, Oil on Canvas, 30 X 40 in.
“clash of fallen orders”, 2019, Acrylic on parachute Cloth, 42 X 60 in.
Searching through comic books, I select aftermath elements of cataclysm, explosions and collisions. This debris is then visually collaged and expanded through drawing, inking and watercolor. Heroes, villains and narrative are omitted allowing a contemplation of these particular visual forms.
“The Collision of Archeology and Architecture”, 2024, Watercolor and Ink on Paper, 22 X 30 inches.
“New Landmarks”, 2023, Ink and Watercolor on Paper, 22 X 30 inches
Process - Inking of “New Landmarks”, 2023
Process- inking of “tools of cosmic perspective”, 2023
Process- Inking of “The Past is the Lost Present”, 2023
A project that explores the ambient electromagnetic spectrum. Prototype antennas explore different frequency and capture the unique quality of place. The animation is a real time aesthetic visualization of this chaotic information derived from a generative art program attached to the antenna.
wave antenna- installed, 2020
2020, 12 X 9 in. Paint Marker on Black Paper
2020, 12 X 9 in. Paint Marker on Black Paper
Maelstrom Study, 2021, 12 X 9 in. Paint Marker on Black Paper
Magnetic Field Study, 2021, 12 X 9 in. Paint Marker on Black Paper
Ripple Densities, 2021, 12 X 9 in. Paint Marker on Black Paper
2020, 9 X 12 in. Paint Marker on Black Paper
2020, 9 X 12 in. Paint Marker on Black Paper
2020, 9 X 12 in. Paint Marker on Black Paper
2020, 9 X 12 in. Paint Marker on Black Paper
Images from a collaboration with ecologist, Lauren Sullivan, from our Sciart Bridge Residency in which we explored the potential affects of landscape form on turbulence and seed dispersal. These images investigate possible project forms- public art earthworks/ science research site and animated scientific data.
Documenting the electromagnetic signature of place through video recording of television static, these paintings isolate a frame and explore the chaotic patterns within the simple RGB layout. 1% of television static seen on the TV screen (antenna) is the Cosmic Microwave Background Radiation (CMB), the artifact of the Big Bang in our current cosmological theory. These paintings document a small portion of the aftermath.
“products of annihilation” ,2020, Acrylic on Canvas, 36 X 48 in.
“oracle bones” 2019, Acrylic on Canvas, 18 X 24in.
“signal decomposition”, 2018, Acrylic on Parachute Cloth, 42 X 60in.
“black entropy”, 2016, Acrylic on Parachute Cloth, 3.5ft X 5 ft
“negative mirror”, 2016, Acrylic on Parachute Cloth, 42 X 60 in.
“infinite regress”, 2018, Acrylic on Parachute Cloth, 22 X 30 in.
“echo turbulence”, 2017, Acrylic on Parachute Cloth, 22 X 30in.
“aphelion”, 2017, Acrylic on Parachute cloth 22 X 30 in.
“the beginning runs backwards”, 2016, Acrylic on Parachute Cloth, 4 ft by 8 ft
“storm in a data vacuum”, 2016, Watercolor, 15.5in. X 21in.
acid static, 2017, Watercolor, 15.5in. X 21in.
afterglow, 2016, Watercolor, 15.5in. X 21in.
dead cities, 2016, Watercolor, 15.5in. X 21in.
deccan traps, 2016, Watercolor, 15.5in. X 21in.
galactic dinosaurs, 2015, Watercolor, 15.5in. X 21in.
legacy limitations, 2015, Watercolor, 15.5in. X 21in.
nonreciprocal interactions, 2015, Watercolor, 8in. X 8in.
remote future, 2015, Watercolor, 15.5in. X 21in.
standstill, 2015, Watercolor, 15.5in. X 21in.
“Foundations”, 2017, Watercolor, 30 X 20 in.
“Zero”, 2014, Watercolor, 48 X 60 in.
“Whale Fall”, 2013, Watercolor, 80 X 60 in.
“Outpost,”, 2012, Watercolor, 80 X 60 in.
“Opisthotonus”, 2012, Watercolor, 80 X 60 in.
“Aqueduct”, 2012, Watercolor, 60 X 80 in.
"Black Wave", 2011, Watercolor, 24 X 14 in.
“Binary Dinosaur”, 2010, Watercolor, 60 X 80 in.
“Virgil”, 2011, Watercolor, 80 X 60 in.
“Beacons”, 2011, Watercolor, 80 X 60 in.
“Sea Floor Vents”, 2010, Watercolor, 11 X 17 in.
“Gravity’s Siren”, 2009, Watercolor, 80 X 60 in.
“Ammonia Cliffs”, 2008, Watercolor, 60 X 80 in.
“Distant Shore”, 2007, Watercolor, 60 X 80 in.
“Tunguska Event”, 2007, Watercolors, 60 X 80 in.
“Day After Tree”, 2007, Watercolor, 80 X 60 in.
“Mound no. 5”, 2006, Watercolor, 60 X 80 in.
“Wreckage”, 2007, Watercolor, 60 X 80 in.
“Horizontal Retrace”
“Horizontal Retrace” is a conceptual mural, constructed from painted bricks stacked against the main wall in the Art Lot (approximately 6 x 10 ft). Depicting the water surface from neighboring Gowanus Bay, the work is an exploration of erosion as it occurs both physically and digitally. The project takes its name from the process of image display in a television set, specifically, the return action of the electron beam as it scans one horizontal line of image information and moves back to begin the next. Painted in the artist’s studio the masonry bricks are then re-assembled on site, one horizontal layer at a time, with sections of brick reconfigured to create a fractured image. This transmission process compromises the fidelity of image. The brick wall form and fragmentation result in image entropy- a combined reference of information decay and the effect of time on place.
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“Static Fossil”
“Static Fossil” is a billboard posted at 149th and Grand Concourse in Bronx, NY from 2013- 2014. The billboard was completed in conjunction with the organization, 14x18. The artwork is an acrylic painting painted at 1/3 scale and depicts a zoomed in view of television static recorded that year. The billboard features a painted reproduction of television static, creating a work that transforms advertising space to one of contemplation. This chaotic field of RGB stripes with light and shadow visualized the electromagnetic energy signature of place and additionally the echo of the Big Bang (CMB- Cosmic Microwave Background Radiation.)
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“Seneca 634”
“Seneca 634” was installed in the summer of 2010. The exterior acrylic mural reaches three stories high and measures 80 feet across. The mural was hand drawn and painted in 88 sections in the muralist’s Brooklyn studio. It is the culmination of years of research, planning, and grassroots funding.
The mural presents regional history as a cross-section of Seneca Lake. The title “Seneca 634” indicates the Lake’s depth of 634 feet. Geneva’s origins and chronology are depicted as geological layers. Located within the facsimile of a sonar screen, these strata are revealed by a beam of light sweeping counter-clockwise. This symbolic lens references the sonar technology of the Seawolf submarine, tested in Lake Seneca in the early 1990s.
The foundation layer of the mural is an ice wall, representing the glacial action that formed Lake Seneca. Geological time then yields to historical time with the appearance of the Seneca tribe. Burning embers mark the American army slash and burn campaign against the tribe during the revolutionary war. The purple wampum belt illustrates the federal structure of the Iroquois Nation, to which the Senecas belonged. The mirrored shapes of the American flag and the wampum belt suggest the debt owed by the American Constitution to this example.
Geneva’s history expands with the agricultural era. The flowers and fruits acknowledge the famed nurseries and rich soil. Moving upward, into the industrial age, buildings emerge from smoke. Of particular interest is the inclusion of the Union Religious Society Chapel, the first Afro-American church in Geneva in 1834. The Dairy Building represents the beginnings of the NYS Agricultural Experimental Station. And finally, just below the surface of the water is the famous F-80 Shooting Star, the first operational jet in the U.S. Air force. Pilots for the F-80 were extensively trained at Sampson Air force Base on Lake Seneca in the Korean War period.
The mural is unique not only for its colossal size and daring conceptual design but also for the distinct vocabulary of imagery. The artist created an innovative and intensely complex image composed entirely of elements native to the area. The mural displays brilliant colors, deep underwater hues, digitization and hyper-realistic renderings. These qualities are combined to create a striking encounter for the viewer, a direct confrontation through which a deep and personal understanding becomes possible.
Horizontal Retrace/ Art Lot Brooklyn, 2015, Painted Bricks, 6 ft x 10 ft
Horizontal Retrace- Reconfiguration/ Art Lot Brooklyn, 2016, Painted Bricks, 6 ft. X 10ft.
Horizontal Retrace/ Art Lot Brooklyn (Detail), 2015, Painted Bricks, 6 ft x 10 ft
Horizontal Retrace/ Art Lot Brooklyn, 2015, Painted Bricks, 6 ft x 10 ft
Horizontal Retrace- Reconfiguration/ Art Lot Brooklyn (Detail), 2016, Painted Bricks, 6 ft. X 10ft.
Proposal Sketch for Horizontal Retrace.
“static fossil”, 2013-2014, Billboard, 14 X 48 ft, Bronx NY
Installation Shot.
Project Documentation- Studio Work in Process, 2013, Acrylic, 4.8 X 16 ft.
“Seneca 634”, 2010, Acrylic Mural, 38 X 80 ft, Geneva NY
Street View,- “Seneca 634”, 2010, Acrylic Mural, 38 X 80 ft, Geneva NY
Detail- “Seneca 634”, 2010, Acrylic Mural, 38 X 80 ft, Geneva NY
Detail- “Seneca 634”, 2010, Acrylic Mural, 38 X 80 ft, Geneva NY
Detail- “Seneca 634”, 2010, Acrylic Mural, 38 X 80 ft, Geneva NY
Detail- “Seneca 634”, 2010, Acrylic Mural, 38 X 80 ft, Geneva NY
Studio Photograph
Installation Shot- “Seneca 634”, 2010, Acrylic Mural, 38 X 80 ft, Geneva NY
“rose window”, Geneva, NY, 2016, 2:56 min.
An experimental fine art video capturing the electromagnetic signature of place- Vedado, Havana, Cuba 2017
This experimental video documents the electromagnetic signature of Ditmas Park, Brooklyn, New York. The project records the television static and accompanying audio captured on site.
From an on- going series exploring the electromagnetic signature of place- recorded in Trinidad, Cuba, 2017
“residual nocturne”- Malécon, Havana Cuba, 2018, 3:12 min.
“resting velocities”- Viñales, Cuba, 2018, 2:10 min.
“color is a degree of darkness”- Seneca Lake, NY, 2016, 2:27 min
“the production of ruins”, Trinidad, Cuba, 2017, 3:10 min.
