I’ve been thinking of salt as a kind of embodied and transferable memory. Excavations of ancient seas, long dried up and now far beneath earth’s surface, warrant salt that we sprinkle on food and that absorbs into our body. Salt we sprinkle on roads. Salt that then dissolves and leaches back into the soil when it’s rained on. I keep these thoughts near notions of home. Notions that home, and our proximity to an orienting center, changes as one disperses – or is dispersed – into life. Or, more specifically, notions and memories of my hometown; a rural place that seems to also be dissolving back into the earth. At times these memories are washed away like the residue left on the skin, or in the mouth, after being in the ocean. It has a taste like perspiration, and it reminds me of the sea within the self.
Rooftop Pool is a reaction to ideas surrounding land/sea boundary change. It is a combination of my vision of houses under water (or ice), my interest in the material expressions of the oceanic experience, and my ever evolving relationship with the multivalent properties of glass.
PARTIAL CONSTELLATION (where am I)
Partial Constellation is a series of three glass discs embossed (in order of left to right) with the partial constellation of Canis Major, the full constellation of Ursa Minor, and the partial constellation of Orion. The discs have been embossed through a kiln fired process and then mirrored with a water gilding method. When looking into one of these mirrors, one's reflection becomes distorted by the warped glass in the pattern of the constellation.
Find the perfect store, that has the perfect shirt, and purchase that shirt. Wash the shirt, and dry it, then put it in the drawer with other work shirts. Take the shirt out of the drawer, wear it and be successful at your job. Come home, take off the work shirt. Eventually, wash the shirt, dry it, and return it to the drawer. The shirt may also be stored by hanging it on a clothes hanger in a closet.
Extension in a play on/with window space and a re-imagining of the role of the curtain.
Path is an installation of 12 sand lines on a concrete floor. The lines lay as markers, delineations of space, that serve to be material effected by the actions of that which desires to pass through them. Actions have directly resulting ramifications. This piece acts as a way for one to observe, in a particular case, the encounter of forces and the path evidenced by the ramifications of this encounter. The piece was completed by walking back and forth through the lines at a normal/comfortable gate, until all the lines where broken. It took roughly 22 minutes.
WIND FIRE LIGHT
WIND FIRE LIGHT is an Installation of stained glass panels at Crossroads United Methodist Church in Washington, IL. It was commissioned through and executed by Jacksonville Art Glass. My design task was to create a set of "abstract" windows, as requested by the commissioning board at the church. I decided to use the story of the Pentecost as my main reference. I felt that setting the elements of rushing wind, fire, and utterance to visual expression through the use of glass, lead, and light would be fitting through it's phenomenological spectal.
These signs are examples of how crafting fine glass signage, using techniques originating in the 1800's, can still be utilized to create signature pieces for business. Working closely with the branding teams for these two companies, respectfully, I produced these two reverse painted and gilded signs.
While working for Jacksonville Art Glass, I was often tasked with executing historically accurate reproduction painting on glass. In this process, the original painted glass is closely examined to determine the processes and techniques used in its production. I then cut the glass accordingly and use multiple layers of vitreous paints and enamels, applying them to the surface (both surfaces in fact), and firing then in the kiln to a achieve a more permanent adherence. In this case, the client wanted the depicted bust of Christ reproduced do to deterioration. The glass is waxed up on the light easel for painting, and the fired, final reproduction is produced.
At Olivet Christian Church, I was commissioned through Jacksonville Art Glass to design and help execute a new set of stained glass windows for the sanctuary. The commissioning body wanted to depict the concept of New Jerusalem. The direction I took specifically references images from the book of Isaiah, and casts these images in a composition that indicates movement, and the passage of time.. The movement is reinforced by the orientation of the windows on both the East and West side of the sanctuary, where the linear connections between the window openings that seemingly stretch across the sacred space, enveloping the viewer.