Studio 7MAR San Francisco

I am an interdisciplinary artist based in San Francisco, California. My work defies any single stylistic classification, and includes sculpture, mixed-media, painting, and cross-disciplinary collaboration. In my art practice I explore nodal points of intersection or branching that open the opportunity for new insight into our world and our place in it. This might relate to something as apparently simple as the interface between the land and the sea, or as apparently impenetrable as the duality of the physical and the metaphysical. These points may be readily found where apparently dissimilar spaces, disciplines or ideas collide, such as, broadly, science and art.

My formal fine art education has focused on classes that I have taken when I have needed to learn techniques in order to execute a particular project.  I have been lucky, though, in that the teachers and mentors who have guided me so far have also deeply inspired me to continue on this journey.  They include the German sculptor Gerhard Helmers, the American painter Richard Louis Perri, and the American enamelist Judy Stone. 

On this page I will rotate documentation of recent and current work. To see a cross section of my work, please view the gallery on the homepage. 

Making Desde Mar y Tierra

Desde Mar y Tierra was created by hand from a single piece of wood between 2018-2020.

Making Ocean Earth Sky

 "Ocean Earth Sky" is a 9 foot sculpture that I made over the course of 2012-13. It consists of two strands of kelp executed in bronze that support three pieces of driftwood that represent, in ascending order, the ocean, the Earth, and the sky.

Representations of sea and forest life are executed in each panel in thin aluminum cut-outs, and the ocean water, sun rays, and sky are executed in varnished paint. The designs for the forest foliage and fish in the ocean are altered from "Art Nouveau Animal Designs and Patterns" by M.P. Verneuil.  The sun is hidden in storm clouds, but its rays filter through the sky, and then through the forest foliage and into the ocean, where it diffuses and dissipates in the depths. The sun’s rays connect the three panels and give this side of the piece its overall theme, “photosynthesis”, through which terrestrial and aquatic life emerges and flourishes.  The chemical equation for photosynthesis is executed in ash lettering and numbering on a walnut pedestal.

But the sculpture also tells a parallel story.  At the top left of the forest panel, a hummingbird spies a lone blossom at the bottom right of the panel.  Why is there only one blossom?  Perhaps the fall is approaching, and with it the process of decay that must balance spring’s life creation.  The reverse side of the sculpture is bare wood in all three panels, clearly revealing the mark of  decay from the marine environment from which they most recently came.  The chemical equation for respiration adorns this side of the pedestal, providing a balance to the front of the sculpture, and reminding us that life and decay are two sides of the same coin, and that one could not exist without the other.  The two ends of the pedestal read “It Is” and “Enough”. 

This gallery documents the creation of “Ocean Earth Sky”.