Place of Work ? Example: Studio, College, Gallery, Museum, ...)
Assistant Professor of Art at Seton Hill University, Greensburg PA.
I am a .... Example: Student, Maker, Educator, etc.
The work that I create varies in size from objects that can be held in the hand, to objects that hold or support. They are sculpturally functional objects that blend asymmetrical geometry with the interaction of basic shapes to create gradual alterations in composition. These pieces rely on subtleties, as line and shape intersect in careful transitions of form. The curves, edges, and tapers inherent create an uncluttered overall composition within the context of the initial purpose of the object.
Metal and wood are used to build a path of exploration between lines and surfaces, which draw the eye from one nuance to another to create a rhythm of intricate detail, and open space. This juxtaposition of space and subtlety ultimately becomes a dialogue of visual and physical balance between precariousness and stability. My pieces are fading, segmented landscapes, where delicately changing planes build a complex architecture around a minimal form.
Your website, DIRECT flickr or DIRECT facebook links where your work can be seen.
The other day a young furniture maker was at the gallery, Matthew Nauman, who studies at IUP. He told me he had once been to a lecture you held at IUP (I think) and was very impressed. Unfortunetaly, he cannot come to the opening this Saturday for you to meet him but I'm sure he'll be at your opening in Sep.
In case you'd like to look at his website and get in touch with him:
though he'll probably show up at crafthaus soon .... :-)
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The only place for cloth fibers, human hair and dust in my home is the vacuum cleaner, but that's not the case for Japanese artist Takahiro Iwasaki, who loves to use them to create detailed miniature scenes that depict Japan's industrial…See More
A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current.
The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Can the metal and jewelry field overcome its division and send out a much-needed signal?
We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making!