Crushed cans, 11 x 12, 2006. The aerosol cans that these pieces are constructed from can be imagined narratively as the peripheral artifacts of creation, bearing more than a passing resemblance to a traditional painter’s flattened, empty metallic tubes of oil paint. Viewing the sculptures literally, this conception expands to represent the peripheral artifacts of … Continue reading Clean Break
Crushed cans, 11 x 11, 2006. The aerosol cans that these pieces are constructed from can be imagined narratively as the peripheral artifacts of creation, bearing more than a passing resemblance to a traditional painter’s flattened, empty metallic tubes of oil paint. Viewing the sculptures literally, this conception expands to represent the peripheral artifacts of … Continue reading Beehive
Crushed cans, 12 x 10, 2006. The aerosol cans that these pieces are constructed from can be imagined narratively as the peripheral artifacts of creation, bearing more than a passing resemblance to a traditional painter’s flattened, empty metallic tubes of oil paint. Viewing the sculptures literally, this conception expands to represent the peripheral artifacts of … Continue reading Peacock
Crushed cans, 12 x 12, 2006. The aerosol cans that these pieces are constructed from can be imagined narratively as the peripheral artifacts of creation, bearing more than a passing resemblance to a traditional painter’s flattened, empty metallic tubes of oil paint. Viewing the sculptures literally, this conception expands to represent the peripheral artifacts of … Continue reading Occupational Hazards
Painted welded steel, 30 x 21 x 17, 2005. The work isolates the interval between decapitation and resurrection, the act by which Ganesha achieves his final form only by first being killed. In the source narrative, most fully told in the Shiva Purana, Parvati makes the boy from her own body alone, with no involvement … Continue reading The Reawakening of Ganesha
