About the Works

 

2D Works:


Cow Skull India Ink Wash Drawings (three total). Black India ink, watercolor paper. 12" x 16" (2017), 12" x 16" (2017), 12” x 15” (2016). 

These are detail images I took of a cow skull. I printed the image and used grid lines to upscale the image by two times onto watercolor paper. I then used brushes and varying amounts of water with the ink to create a full value range matching the value tones in the printed image.


Wood Texture Pen Drawing. Pen. 11" x 17". (2017).

I took a detail image of a visually interesting part of piece of wood I found at Lake Waco. I enjoyed capturing the details with different line weight pens.  


100 Feet. MFA show cards cut up. 4’ x 3’. (2017)

In graduate school I had the idea to cut up 100 feet of tape measures into the 1/16” marks. After cutting all 100 feet, I then packed the 1/16” strips into a cone form. My concept was to see 100 feet in a form versus distance. A detail image was taken of the cut 1/16” strips and was used for my MFA show cards. I had a big leftover stack of these MFA show cards and decided to cut them up into small pieces and then make a large college gluing and layering the shapes. The visual aspect is a great example for visual texture as you scan across the composition.


Stump Drawing. Pen. On 18” x 24” paper. (2017)

This was a direct observation drawing of the side of a stump. The stump was partially burned. 


Steady. Graphite, acrylic paint. 18” x 40”. (2016)

Have a steady hand? Sometimes our life is like the wood block tower. Removing a block at a time is like taking risks or making decisions in life. Even when the tower falls, it’s important to keep moving forward and building again.


Ceramic Vase Drawing. Graphite, pencil. 13” x 16”. (2016)

The ceramics studio has lots of different size vases with smooth and rough textures, and I chose this one to draw and do a value study of the gray tones. This was a very smooth textured vase, and I liked the visual surface of this vase and the way light hit it. I used an ebony pencil for dark shadows.


Self-Portrait (Age 32). Charcoal, white chalk. Paper size: 18” x 24”; drawing size: 12” x 18”. (2016)

The process of this Self-Portrait was toning the 12” x 18” format with black charcoal. I worked from a 6” x 9” image and upscaled the drawing two times the scale of the image. An eraser was used to pull out the highlights. Studying the subtle value tones of gray helps achieve a realistic illusion of three dimensions.


Tera. Charcoal. Paper size 18" x 24"; drawing size: 12" x 18". (2016)

This is a portrait of my fiance; she had never had her portrait drawn so I wanted to draw her portrait in the same way as my portrait. I really like the features I was able to do for her portrait  like the earring, necklace, hair, and wrinkles of her jacket. 


Guy Fawkes Mask. Charcoal, pastel, chalk. 18” x 24”. (2016)

I bought this mask at Spirit Halloween and wanted to make a drawing of it. I printed an image of the mask and then did an upscale drawing from the printed image using grid lines. It hangs beside the Self-Portrait (Age 32) drawing.


Value Study of Plaster Form #1 (View #1). Charcoal, white chalk. 13 1/2” x 14”. (2016)

Value Study of Plaster Form #1 (View #2). Charcoal, white chalk. 14 1/2” x 16”. (2016)

These drawings were from Plaster Form Carving #1 on the 3D Works page. I found these views visually interesting and studied the light and shadow value tones.


Persistence. Struck match striker bands. 18 7/8” x 18 7/8”. (2016)

Not much thought is given to the marks made from repetitively striking matches against a striker band. In this piece, I want to bring more attention to the thoroughly marked bands by thinking of the marks as representing strikes of pain, conflict, or self-doubt. Sometimes we feel like we are being ‘struck’ through hardships and trials, and even at times we can personally ‘strike’ ourselves from self-doubt. Persistence, trust, faith, and hope are key to over coming the challenges and pressures of life.


Consumed. Hole punched product boxes. 70” circle. (2014)

I cut up product boxes (cereal, granola bars, brownies, etc) and then hole punched the cut out shapes. Why such a repetitive process of hole punching? The meaning comes from the consumption of food and everyday products we buy at the store. It is a continual cycle like the circle. I glued the shapes together to create a large scale collage that is 70” in diameter, which is my height. This piece serves as a self-portrait where the large circle complements the many thousands of small circles.


REAL FRUIT. Subtracted hole punches from Consumed. 2’ x 3’. (2014)

The hole punched circles were not thrown away as often times subtracted material like hole punches are. The thousands of hole punches served a new purpose creating a piece from the above work. The hole punches were glued in layers to give a slightly raised two-dimensional surface. Some of my favorite hole punches are of bar codes. There are also individual eyes scattered throughout the composition. When seeing this piece in person, can you find the hole punch with the small words ‘REAL FRUIT’?


Serenity. Shingle and soap. This piece is in a 12 1/2” x 19 3/4” wood frame behind glass. (2013)

I found this shingle and thought of a contrasting texture to its roughness and soap came to my mind. The process was simple—rub the blue bar of soap onto the shingle (after I had rubbed the soap onto the shingle, I also pressed down the soap so it wouldn’t crumble off). In this way the soap filled in some of the rough texture to smooth it over. The rough texture serves as a metaphor for the rough or unpleasant times in our lives. I see the soap as representing hope, faith, gentleness, cleansing, love, and peace to smooth over those rough/difficult times. The title Serenity means the state of being calm and untroubled.   


Big Foot. Prisma colors, ebony pencil, product boxes glued to masonite, white paint. This piece is in a 24” x 35” wood frame behind glass. (2013)

This fun drawing was made for the Visual Arts Faculty Big Foot show at McLennan Community College.


Sheet Study #1, #2, and #3. Charcoal. 18" x 24".

I pinned three sheets on the wall with interesting wrinkles and directed a light on the sheet. The drawing sheet is covered smooth with charcoal and then an eraser is used to draw and pull out value tones. Sheet Study #3 was a brand new sheet with hard crease lines. 


Twenty-Nine Lines. Notebook lines from paper, acrylic paint. 30” x 30”. (2012)

There are a total of twenty-nine lines on a wide-ruled sheet of paper. I cut out twenty-seven blue lines and two pink lines and then glued them onto a painted white canvas. The lines on paper are parallel and perpendicular to each other. In this piece, I was interested in a composition of diagonal lines creating movement where the lines are pointing at each other.


Precision. Margin lines from notebook paper, acrylic paint. 40” x 40”. (2011)

Circles (divine shapes) come up several times in my art. My idea was to bring a different kind of attention to the margin lines that we see vertically on a sheet of paper. These lines are reconstituted into a continuous shape of a circle. The process of cutting the lines from notebook paper is one of precision.


Sickle. Dictionary word illustrations, prisma colors. This piece is in a 26 1/4” x 25” wood frame behind glass. (2011)

This piece is made from the word illustration pictures that I cut out of an old dictionary. The pictures were colored to bring them to ‘life’. The word ‘sickle’ is hidden in the piece where the viewer tries to search for this word. The title came from the process of cutting the illustration pictures into smaller shapes similar to the function of cutting with a sickle.


Indispensable. Hundreds of ball points from pens, super strong magnet. Magnet: 5/8”. This piece is in a 5 1/2” x 7 1/2” wood frame behind glass. (2009)

How many times do we think about the ball point of a pen? The pen cannot function without its smallest part. Pen is in the middle of the title Indispensable meaning absolutely necessary.



Installations:


Staple Stalactite. Clicked staples. Approx. 9’ long. (2009)

This suspension installation offers the viewer an element of surprise when realizing what the form is actually made from. The stalactite consists of over one million clicked out staples by hand. The scale of the stalactite needed to be large. It took a semester in graduate school with friends’ help in addition to a slow accumulation since then. The clicked staples naturally interlock together as I drag a strand to hook staples. The installation goes rather quick as sections are hooked together. The form tapers to one single staple. One of my favorites!


Shavings of Time. Eraser shavings. 4’ 9” x 6’ 8”. (2008)

This is a piece I made in graduate school where I bought all of these erasers to grind up by hand. I bought the pink pearl erasers and another eraser that ended up being softer and a lighter pink color. It was a pretty tough process grinding these erasers down. We know eraser shavings are quickly swept off a sheet of paper without a second thought (similar in material to the staples plucked from the utility pole in Healing). How many times have we actually thought about that shaving? The shaving represents trying to correct something, and symbolically to me, the eraser serves as a metaphor for our life. Each day is like a shaving of our life we cannot go back and repeat like an eraser shaving cannot be added back onto the eraser. We all make mistakes in life. The eraser serves as a map. There are many locations we travel in life just like an eraser is used at multiple locations. Will the shavings be forgotten over time or will there still be a memory and learning from our mistakes?   



3D Works:


Consecration. Boiled matches. 27” circle. (2016)

I had the idea in graduate school to experiment with boiling matches as a way to alter the natural identity of the match. By boiling the matches, the head of the match dissolves away and the white stick is dyed hues of pink and red. The leftover residue from the match heads was used in the piece titled Endurance. The matches are “baptized” and altered by this hot water where the term consecration comes from. This work takes on a spiritual meaning where it’s the concept of a new creation.


Plaster Linear Form Carvings #1, #2, #3. (#1, 2010; #2 and #3, 2015)

--A rounded, curvilinear positive form and visually interesting negative spaces is what I work towards when carving a mass of plaster. When the plaster has turned bone dry, I finish the surface with fine sand paper. Plaster carving #1 is a small (palm size) carving that I did when I taught a 3D Design class at Texas A&M University-Commerce. Plaster carving #2 and #3 are from teaching 3D Design at Temple College. These two are larger than the first one (approx. four inches tall).


Hull Form. Wood, paint. 37” x 5 3/4” x 4 1/2”. (2011)

Throughout undergraduate and graduate school, I have been fascinated with ship hull forms. I laminated pieces of wood and then used an angle grinder to grind the form. The inside was carved and smoothed. The negative space is visually interesting, which allows entrance to look inside the form. The hull is symbolic of the vessel of the human body.


Healing. Photographs, staples.  (2009)

This piece was made during graduate school for a semester away study at Yale University where I took a summer Sculpture class. I saw a utility pole on Yale’s campus densely covered with staples (there were no flyers attached to it). When I see staples and nails like this embedded into a utility pole, I see pain. The staples symbolize pain that we experience in life whether that is emotional, psychological or physical. My idea was to pluck every staple from the pole. The process was at first mentally challenging because I was used to making work in my private studio space. What were people going to think of me doing this I thought? The process of removing the staples was also challenging. I bought some pliers and a flat head screw driver to pry them out. I did not pluck all the staples out in one day--I went three days. The removing of the staples represents ‘healing’- an ounce of pain removed. Eventually all the staples were removed where you could see the holes from where the staples were plucked out. The holes represent the scars or memories of our painful experiences.

I made a paper cylinder form and poured the staples into it and packed them down. The staples are held together by only being packed. The staples are resurrected into this cylinder form, which mimics the cylinder pole from where they were removed. No doubt staples have been added back to this utility pole just like we continue to experience pain in our lives. The first step is to be true to ourself and recognize the pain (staples) and reach out to God and our loved ones where the process of healing can begin.


Tera. Charcoal. Paper size: 18" x 24"; drawing size: 12" x 18".

This is a portrait of my fiance; she had never had her portrait drawn, and it's drawn in the technique of my portrait. I really like the features of her chandelier earring, her hair, necklace, eyes, smile, and wrinkles of her jacket.