for-web.jpg
       
     
  A Fragment of Celestial Debris (2016)    H83"x 114"x 81", welded steel     
  
 
  
    
  
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     The work is composed of recognizable salvaged steel, welded together lightly attached to a string. It implies a gentle transferring of cosmic particles in a free, hazy fluidity as the particles descend downward from the heavens to the terrestrial, expressing our desire for freedom is released from the constraints of natural forces, while, paradoxically, safety surrounds the action in a very material gravitational experience.   
       
     
web5.jpg
       
     
  A Scene of Excited Anticipation (2013-2016)    H91"x 110"x 67", forged steel, casted polyester resin, resin coated soil on plexi-glass, drawing on found plywood   Inspired by the traditional appeal and dynamic movement in Baroque sculptures, the work conveys an element of grandeur as a metaphor for mankind’s continual efforts to reach perfection, while the imagery suggests hybrids of zoological figure in manmade construction juxtaposed alongside raw elements of nature.     
  
 
  
    
  
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web_IMG_1070.jpg
       
     
4. A Scene of Excited Anticipation in a Layered Abys.jpg
       
     
  Ascending Industrial Bouquets (2016)    H94" x 50" x 34 1/2", polyurethane resin, steel, brass, copper, postcard (paper), oil paint   Translucent resin body is selectively burnt and oxidized. The work’s components were originally suspended from the ceiling before being fixed together, allowing gravity to directly influence the final composition, acknowledging that all things ultimately return to earth.
       
     
WEB.jpg
       
     
yasue_detailWEB.jpg
       
     
  Pedigree of Industrial Bouquets (2016)    H32 1/4" x W27" x L38", polyurethane resin, steel, brass, copper, paper, oil paint   Fragments of old invitation cards from one of the artist’s early show were salvaged and incorporated into the translucent and burnt resin, copper and brass body. This repurposing is a metaphor for artistic production as life cycle, with old materials being reborn into unexpected formations. 
       
     
  Crystalized Timbers United by Ferrous II (2015)    H81" x W72" x L39", wood, steel   When we make use of the raw materials available around us, we do not change the very nature from which they are spun, it's only their external qualities. The work underscores the artist’s attempt to mastery of nature and its impermanence by manufacturing gems through natural woods. 
       
     
4-16-15_1874.jpg
       
     
       
     
  Specks of Green Rust Before the Wind (2015)    H96" x 46" x 38", printed wood stain and copper corrosion on pulp (kozo, abaca and cotton), cane, steel   Exploring ideas of erosion, decay, adaptation in the face of climate change, and the afterlife of objects as an affect heuristic that could occur during a variety of material processes. The cane was manipulated into a skeletal form, and adorned with handmade paper after it has absorbed patinas from corroded copper.
       
     
web3.jpg
       
     
  A Touch of Foliage on Timber United by Ferrous (2014)    H74" x W54" x L38", wood, steel, polyurethane resin   Exploring modern industry and artisanal creation, organic life and inorganic substance, decoration and engineered stability. Letting the form to lead, based on the physicality of construction by restoring materials’ natural condition in space. 
       
     
new 3.jpg
       
     
 Installation: group exhibition "Made in Ridgewood" (2015)
       
     
  Crystalized Timbers United by Ferrous I (2014)    H39" x W165" x L29", wood, steel   When we make use of the raw materials available around us, we do not change the very nature from which they are spun, it's only their external qualities. The work underscores the artist’s attempt to mastery of nature and its expedited impermanence by manufacturing gems from wood.    
       
     
6.Urethane Flower on Steel Stem Clud with Foam.jpg
       
     
06.jpg
       
     
  Urethane Flower on Steel Stem Clad with Foam (2013)    H91" x W110" x L67", steel, polyurethane resin, epoxy clay, burnt and varnished styrofoam   After bonding the styrene foam with adhesive, the form is mutilated and nearly destroyed by hacking, burning and then revived by the metallic glaze in order to instigate the natural entropic process to occur in reverse. 
       
     
       
     
5.Urethane Folower on Steel Stem Clad with Foam.jpg
       
     
  Reciprocal Wood and Steel with Silver Blossom (2014)    H73" x W156" x L132", wood, steel, painted found objects   Exploring modern industry and artisanal creation, organic life and inorganic substance, decoration and engineered stability. Letting the form to lead, based on the physicality of construction by restoring materials’ natural condition in space. 
       
     
IMG_3490.jpg
       
     
IMG_3291.jpg
       
     
IMG_3307.jpg
       
     
  Untitled (2014)    H420" x W110" x L114", wood, rattan, cane, steel   The work conveys the element of monumentality and seeks safety in gravitational experience while portraying how decay and the afterlife of these objects create their own narrative. The work is composed of salvaged driftwood from a canoe, cane and steel, which are manipulated into a skeletal form.
       
     
big_12.jpg
       
     
big_07.jpg
       
     
  If I were a Master of Stone Curving (2011)    H84" x W73" x L83", Steel epoxy clay, wood, prints on steel   Exploring sculpture’s traditional appeal, artisanal craftsmanship and dynamic movement. Illustrating mastery of materials and balancing forms while the imagery suggests hybrids of zoological figure in manmade construction juxtaposed alongside raw elements of nature. 
       
     
  
       
     
1-3.jpg
       
     
  Shovel, Sword  (2011)    H37" x W100" x L49", Resin mounted collage on stainless steel, wood, glass
       
     
2-7.jpg
       
     
  Rake (2011)    H77" x W53" x L38", Bamboo, resin coated soil, glass, ceramic, wood, terracotta
       
     
4-2.jpg
       
     
4-4.jpg
       
     
  Manufactured Corrosion in the Pavilion (2009)    H113" x W75" x L60", epoxy clay, steel, dried fish skin, plexi glass
       
     
Manufactured Corrosion in Pavilion (3).jpg
       
     
  installation view in Miami/FL (2009)
       
     
  Manufacture Decay in the Spear (2009)    H100" x W6" x L8", epoxy clay, animal bones, steel
       
     
  Toko no Tsuma (2009)    H61" x W62" x L84", epoxy clay, animal bones, resin mounted fish skin, fabric, bamboo, aluminum
       
     
Warped Floor and Object (2).jpg
       
     
  Model for the Blacksmith (2009)    H49" x W24" x L21", epoxy clay, steel, animal bones
       
     
       
     
  Ningen Kokuho (2008)    H132" x W228" x L144", steel, stainless steel, aluminum, plexi glass, animal bones, resin mounted fish skin, fabric
       
     
Ningen Kokuho (6).jpg
       
     
  Sculpture Without Skin I (2008)    H85" x W44" x L117", steel, digital prints on MDF, digital prints on polystyrene sheet, bamboo, wool, plaster, wood
       
     
5.jpg
       
     
2.jpg
       
     
7.jpg
       
     
  Sculpture Without Skin II (2008)    H52" x W48" x L40", steel, resin coated fish skin, PVC, copper pigment on plastic sheet
       
     
  Polaris (2007)    H102" x W111" x L83", steel, brass, copper, resin, plaster, wood, photograph
       
     
3) Polaris detail1.jpg
       
     
  Warrior (2007)    H73" x W46" x L88", beads on steel, resin, brass, copper, silk
       
     
7) Warrior detail1.jpg
       
     
  Cardinal Direction (2007)    H37" x W190" x L38", wood, steel
       
     
  Self-Mummy (2007)    H59" x W44" x L58", steel, wood, salt, resin, nylon fiber, glass
       
     
12) Self-Mummy detail.jpg
       
     
  installation view in New York (2007)
       
     
  Amagoi (2006-2013)    H93" (variable width and length), steel, fabric, glass, rice paper,   collage on paper
       
     
5) Amagoi detail3.jpg
       
     
3) Amagoi detail1.jpg
       
     
  Court (2006)    H79" x W75" x L85", steel, fabric, wood
       
     
webdragon.jpg
       
     
  Untitled (2004)    H45" x W23" x L14", plaster, fabric, wood, found objects
       
     
  Oneness (2003)    H64" x W33" x L132", steel, glass, fabric, nylon fiber
       
     
Oneness 3.jpg
       
     
  Protozoa in Focus (2002)    H26" x W13" x L12", glass, bronze, wood, found object
       
     
  Contemplation (2001)    installation
       
     
  Golden Buttocks (2001)    H10" x W11" x L11", fire enamel on ceramics
       
     
  I am Listing and Speaking (2001)    H27" x W25" x L14", bronze
       
     
  Sea of Fertility no. 1 (2001)    H21" x W12" x L12" (top object), cement, glass, found objects
       
     
       
     
  Sea of Fertility no. 2 (2001)    H21" x W12" x L10" (top object), plaster, brass, glass, fabric, steel
       
     
  Prayers (1999)    H14" x W10" x L8" (top object), glass, bronze
       
     
  Monologos Dialogue (1999)    H27" x W14" x L11", glass, bronze
       
     
  Fruits Faces (1998)    H98" x W59 x L59", steel, glass
       
     
Fruits Faces 2.jpg
       
     
  Liberty (1998)    H31" x W14" x L10", bronze, glass
       
     
  Fanning-Out Graphite (2012-13)    H33" x W115" x L93", Graphite pigment on steel, wood, aluminum, epoxy clay   While the recognizable industrial and natural wastes are deliberately made visible in the finished appearance, the whole body is covered with monochromatic graphite pigment, suggesting the artist’s view of all substances uniformly as raw construction materials. 
       
     
1.main view.jpg
       
     
  Three-legged Idol #3 (2013)    H19" x W9" x L7", wood, brass, copper, resin coated paper, sea shell, animal bone, oil paint
       
     
  Three-legged Idol #2 (2013)    H11" x W6 1/2" x L5", wood, brass, copper, resin coated paper, sea shells, animal bone, oil paint
       
     
  Three-legged Idol #1 (2013)    H12 1/2" x W7 1/2" x L5 1/2", wood, brass, copper, resin coated paper, animal bone,oil paint     
       
     
       
     
for-web.jpg
       
     
  A Fragment of Celestial Debris (2016)    H83"x 114"x 81", welded steel     
  
 
  
    
  
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     The work is composed of recognizable salvaged steel, welded together lightly attached to a string. It implies a gentle transferring of cosmic particles in a free, hazy fluidity as the particles descend downward from the heavens to the terrestrial, expressing our desire for freedom is released from the constraints of natural forces, while, paradoxically, safety surrounds the action in a very material gravitational experience.   
       
     

A Fragment of Celestial Debris (2016)

H83"x 114"x 81", welded steel

The work is composed of recognizable salvaged steel, welded together lightly attached to a string. It implies a gentle transferring of cosmic particles in a free, hazy fluidity as the particles descend downward from the heavens to the terrestrial, expressing our desire for freedom is released from the constraints of natural forces, while, paradoxically, safety surrounds the action in a very material gravitational experience.   

web5.jpg
       
     
  A Scene of Excited Anticipation (2013-2016)    H91"x 110"x 67", forged steel, casted polyester resin, resin coated soil on plexi-glass, drawing on found plywood   Inspired by the traditional appeal and dynamic movement in Baroque sculptures, the work conveys an element of grandeur as a metaphor for mankind’s continual efforts to reach perfection, while the imagery suggests hybrids of zoological figure in manmade construction juxtaposed alongside raw elements of nature.     
  
 
  
    
  
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A Scene of Excited Anticipation (2013-2016)

H91"x 110"x 67", forged steel, casted polyester resin, resin coated soil on plexi-glass, drawing on found plywood

Inspired by the traditional appeal and dynamic movement in Baroque sculptures, the work conveys an element of grandeur as a metaphor for mankind’s continual efforts to reach perfection, while the imagery suggests hybrids of zoological figure in manmade construction juxtaposed alongside raw elements of nature. 

     
       
     

 

 

web_IMG_1070.jpg
       
     
4. A Scene of Excited Anticipation in a Layered Abys.jpg
       
     
  Ascending Industrial Bouquets (2016)    H94" x 50" x 34 1/2", polyurethane resin, steel, brass, copper, postcard (paper), oil paint   Translucent resin body is selectively burnt and oxidized. The work’s components were originally suspended from the ceiling before being fixed together, allowing gravity to directly influence the final composition, acknowledging that all things ultimately return to earth.
       
     

Ascending Industrial Bouquets (2016)

H94" x 50" x 34 1/2", polyurethane resin, steel, brass, copper, postcard (paper), oil paint

Translucent resin body is selectively burnt and oxidized. The work’s components were originally suspended from the ceiling before being fixed together, allowing gravity to directly influence the final composition, acknowledging that all things ultimately return to earth.

WEB.jpg
       
     
yasue_detailWEB.jpg
       
     
  Pedigree of Industrial Bouquets (2016)    H32 1/4" x W27" x L38", polyurethane resin, steel, brass, copper, paper, oil paint   Fragments of old invitation cards from one of the artist’s early show were salvaged and incorporated into the translucent and burnt resin, copper and brass body. This repurposing is a metaphor for artistic production as life cycle, with old materials being reborn into unexpected formations. 
       
     

Pedigree of Industrial Bouquets (2016)

H32 1/4" x W27" x L38", polyurethane resin, steel, brass, copper, paper, oil paint

Fragments of old invitation cards from one of the artist’s early show were salvaged and incorporated into the translucent and burnt resin, copper and brass body. This repurposing is a metaphor for artistic production as life cycle, with old materials being reborn into unexpected formations. 

  Crystalized Timbers United by Ferrous II (2015)    H81" x W72" x L39", wood, steel   When we make use of the raw materials available around us, we do not change the very nature from which they are spun, it's only their external qualities. The work underscores the artist’s attempt to mastery of nature and its impermanence by manufacturing gems through natural woods. 
       
     

Crystalized Timbers United by Ferrous II (2015)

H81" x W72" x L39", wood, steel

When we make use of the raw materials available around us, we do not change the very nature from which they are spun, it's only their external qualities. The work underscores the artist’s attempt to mastery of nature and its impermanence by manufacturing gems through natural woods. 

4-16-15_1874.jpg
       
     
       
     
  Specks of Green Rust Before the Wind (2015)    H96" x 46" x 38", printed wood stain and copper corrosion on pulp (kozo, abaca and cotton), cane, steel   Exploring ideas of erosion, decay, adaptation in the face of climate change, and the afterlife of objects as an affect heuristic that could occur during a variety of material processes. The cane was manipulated into a skeletal form, and adorned with handmade paper after it has absorbed patinas from corroded copper.
       
     

Specks of Green Rust Before the Wind (2015)

H96" x 46" x 38", printed wood stain and copper corrosion on pulp (kozo, abaca and cotton), cane, steel

Exploring ideas of erosion, decay, adaptation in the face of climate change, and the afterlife of objects as an affect heuristic that could occur during a variety of material processes. The cane was manipulated into a skeletal form, and adorned with handmade paper after it has absorbed patinas from corroded copper.

web3.jpg
       
     
  A Touch of Foliage on Timber United by Ferrous (2014)    H74" x W54" x L38", wood, steel, polyurethane resin   Exploring modern industry and artisanal creation, organic life and inorganic substance, decoration and engineered stability. Letting the form to lead, based on the physicality of construction by restoring materials’ natural condition in space. 
       
     

A Touch of Foliage on Timber United by Ferrous (2014)

H74" x W54" x L38", wood, steel, polyurethane resin

Exploring modern industry and artisanal creation, organic life and inorganic substance, decoration and engineered stability. Letting the form to lead, based on the physicality of construction by restoring materials’ natural condition in space. 

new 3.jpg
       
     
 Installation: group exhibition "Made in Ridgewood" (2015)
       
     

Installation: group exhibition "Made in Ridgewood" (2015)

  Crystalized Timbers United by Ferrous I (2014)    H39" x W165" x L29", wood, steel   When we make use of the raw materials available around us, we do not change the very nature from which they are spun, it's only their external qualities. The work underscores the artist’s attempt to mastery of nature and its expedited impermanence by manufacturing gems from wood.    
       
     

Crystalized Timbers United by Ferrous I (2014)

H39" x W165" x L29", wood, steel

When we make use of the raw materials available around us, we do not change the very nature from which they are spun, it's only their external qualities. The work underscores the artist’s attempt to mastery of nature and its expedited impermanence by manufacturing gems from wood. 

 

6.Urethane Flower on Steel Stem Clud with Foam.jpg
       
     
06.jpg
       
     
  Urethane Flower on Steel Stem Clad with Foam (2013)    H91" x W110" x L67", steel, polyurethane resin, epoxy clay, burnt and varnished styrofoam   After bonding the styrene foam with adhesive, the form is mutilated and nearly destroyed by hacking, burning and then revived by the metallic glaze in order to instigate the natural entropic process to occur in reverse. 
       
     

Urethane Flower on Steel Stem Clad with Foam (2013)

H91" x W110" x L67", steel, polyurethane resin, epoxy clay, burnt and varnished styrofoam

After bonding the styrene foam with adhesive, the form is mutilated and nearly destroyed by hacking, burning and then revived by the metallic glaze in order to instigate the natural entropic process to occur in reverse. 

       
     
5.Urethane Folower on Steel Stem Clad with Foam.jpg
       
     
  Reciprocal Wood and Steel with Silver Blossom (2014)    H73" x W156" x L132", wood, steel, painted found objects   Exploring modern industry and artisanal creation, organic life and inorganic substance, decoration and engineered stability. Letting the form to lead, based on the physicality of construction by restoring materials’ natural condition in space. 
       
     

Reciprocal Wood and Steel with Silver Blossom (2014)

H73" x W156" x L132", wood, steel, painted found objects

Exploring modern industry and artisanal creation, organic life and inorganic substance, decoration and engineered stability. Letting the form to lead, based on the physicality of construction by restoring materials’ natural condition in space. 

IMG_3490.jpg
       
     
IMG_3291.jpg
       
     
IMG_3307.jpg
       
     
  Untitled (2014)    H420" x W110" x L114", wood, rattan, cane, steel   The work conveys the element of monumentality and seeks safety in gravitational experience while portraying how decay and the afterlife of these objects create their own narrative. The work is composed of salvaged driftwood from a canoe, cane and steel, which are manipulated into a skeletal form.
       
     

Untitled (2014)

H420" x W110" x L114", wood, rattan, cane, steel

The work conveys the element of monumentality and seeks safety in gravitational experience while portraying how decay and the afterlife of these objects create their own narrative. The work is composed of salvaged driftwood from a canoe, cane and steel, which are manipulated into a skeletal form.

big_12.jpg
       
     
big_07.jpg
       
     
  If I were a Master of Stone Curving (2011)    H84" x W73" x L83", Steel epoxy clay, wood, prints on steel   Exploring sculpture’s traditional appeal, artisanal craftsmanship and dynamic movement. Illustrating mastery of materials and balancing forms while the imagery suggests hybrids of zoological figure in manmade construction juxtaposed alongside raw elements of nature. 
       
     

If I were a Master of Stone Curving (2011)

H84" x W73" x L83", Steel epoxy clay, wood, prints on steel

Exploring sculpture’s traditional appeal, artisanal craftsmanship and dynamic movement. Illustrating mastery of materials and balancing forms while the imagery suggests hybrids of zoological figure in manmade construction juxtaposed alongside raw elements of nature. 

  
       
     

 

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  Shovel, Sword  (2011)    H37" x W100" x L49", Resin mounted collage on stainless steel, wood, glass
       
     

Shovel, Sword  (2011)

H37" x W100" x L49", Resin mounted collage on stainless steel, wood, glass

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  Rake (2011)    H77" x W53" x L38", Bamboo, resin coated soil, glass, ceramic, wood, terracotta
       
     

Rake (2011)

H77" x W53" x L38", Bamboo, resin coated soil, glass, ceramic, wood, terracotta

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  Manufactured Corrosion in the Pavilion (2009)    H113" x W75" x L60", epoxy clay, steel, dried fish skin, plexi glass
       
     

Manufactured Corrosion in the Pavilion (2009)

H113" x W75" x L60", epoxy clay, steel, dried fish skin, plexi glass

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  installation view in Miami/FL (2009)
       
     

installation view in Miami/FL (2009)

  Manufacture Decay in the Spear (2009)    H100" x W6" x L8", epoxy clay, animal bones, steel
       
     

Manufacture Decay in the Spear (2009)

H100" x W6" x L8", epoxy clay, animal bones, steel

  Toko no Tsuma (2009)    H61" x W62" x L84", epoxy clay, animal bones, resin mounted fish skin, fabric, bamboo, aluminum
       
     

Toko no Tsuma (2009)

H61" x W62" x L84", epoxy clay, animal bones, resin mounted fish skin, fabric, bamboo, aluminum

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  Model for the Blacksmith (2009)    H49" x W24" x L21", epoxy clay, steel, animal bones
       
     

Model for the Blacksmith (2009)

H49" x W24" x L21", epoxy clay, steel, animal bones

       
     
  Ningen Kokuho (2008)    H132" x W228" x L144", steel, stainless steel, aluminum, plexi glass, animal bones, resin mounted fish skin, fabric
       
     

Ningen Kokuho (2008)

H132" x W228" x L144", steel, stainless steel, aluminum, plexi glass, animal bones, resin mounted fish skin, fabric

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  Sculpture Without Skin I (2008)    H85" x W44" x L117", steel, digital prints on MDF, digital prints on polystyrene sheet, bamboo, wool, plaster, wood
       
     

Sculpture Without Skin I (2008)

H85" x W44" x L117", steel, digital prints on MDF, digital prints on polystyrene sheet, bamboo, wool, plaster, wood

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  Sculpture Without Skin II (2008)    H52" x W48" x L40", steel, resin coated fish skin, PVC, copper pigment on plastic sheet
       
     

Sculpture Without Skin II (2008)

H52" x W48" x L40", steel, resin coated fish skin, PVC, copper pigment on plastic sheet

  Polaris (2007)    H102" x W111" x L83", steel, brass, copper, resin, plaster, wood, photograph
       
     

Polaris (2007)

H102" x W111" x L83", steel, brass, copper, resin, plaster, wood, photograph

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  Warrior (2007)    H73" x W46" x L88", beads on steel, resin, brass, copper, silk
       
     

Warrior (2007)

H73" x W46" x L88", beads on steel, resin, brass, copper, silk

7) Warrior detail1.jpg
       
     
  Cardinal Direction (2007)    H37" x W190" x L38", wood, steel
       
     

Cardinal Direction (2007)

H37" x W190" x L38", wood, steel

  Self-Mummy (2007)    H59" x W44" x L58", steel, wood, salt, resin, nylon fiber, glass
       
     

Self-Mummy (2007)

H59" x W44" x L58", steel, wood, salt, resin, nylon fiber, glass

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  installation view in New York (2007)
       
     

installation view in New York (2007)

  Amagoi (2006-2013)    H93" (variable width and length), steel, fabric, glass, rice paper,   collage on paper
       
     

Amagoi (2006-2013)

H93" (variable width and length), steel, fabric, glass, rice paper, collage on paper

5) Amagoi detail3.jpg
       
     
3) Amagoi detail1.jpg
       
     
  Court (2006)    H79" x W75" x L85", steel, fabric, wood
       
     

Court (2006)

H79" x W75" x L85", steel, fabric, wood

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  Untitled (2004)    H45" x W23" x L14", plaster, fabric, wood, found objects
       
     

Untitled (2004)

H45" x W23" x L14", plaster, fabric, wood, found objects

  Oneness (2003)    H64" x W33" x L132", steel, glass, fabric, nylon fiber
       
     

Oneness (2003)

H64" x W33" x L132", steel, glass, fabric, nylon fiber

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  Protozoa in Focus (2002)    H26" x W13" x L12", glass, bronze, wood, found object
       
     

Protozoa in Focus (2002)

H26" x W13" x L12", glass, bronze, wood, found object

  Contemplation (2001)    installation
       
     

Contemplation (2001)

installation

  Golden Buttocks (2001)    H10" x W11" x L11", fire enamel on ceramics
       
     

Golden Buttocks (2001)

H10" x W11" x L11", fire enamel on ceramics

  I am Listing and Speaking (2001)    H27" x W25" x L14", bronze
       
     

I am Listing and Speaking (2001)

H27" x W25" x L14", bronze

  Sea of Fertility no. 1 (2001)    H21" x W12" x L12" (top object), cement, glass, found objects
       
     

Sea of Fertility no. 1 (2001)

H21" x W12" x L12" (top object), cement, glass, found objects

       
     

Sea of Fertility no. 3 (2001)

installation, glass, plaster, cement

  Sea of Fertility no. 2 (2001)    H21" x W12" x L10" (top object), plaster, brass, glass, fabric, steel
       
     

Sea of Fertility no. 2 (2001)

H21" x W12" x L10" (top object), plaster, brass, glass, fabric, steel

  Prayers (1999)    H14" x W10" x L8" (top object), glass, bronze
       
     

Prayers (1999)

H14" x W10" x L8" (top object), glass, bronze

  Monologos Dialogue (1999)    H27" x W14" x L11", glass, bronze
       
     

Monologos Dialogue (1999)

H27" x W14" x L11", glass, bronze

  Fruits Faces (1998)    H98" x W59 x L59", steel, glass
       
     

Fruits Faces (1998)

H98" x W59 x L59", steel, glass

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  Liberty (1998)    H31" x W14" x L10", bronze, glass
       
     

Liberty (1998)

H31" x W14" x L10", bronze, glass

  Fanning-Out Graphite (2012-13)    H33" x W115" x L93", Graphite pigment on steel, wood, aluminum, epoxy clay   While the recognizable industrial and natural wastes are deliberately made visible in the finished appearance, the whole body is covered with monochromatic graphite pigment, suggesting the artist’s view of all substances uniformly as raw construction materials. 
       
     

Fanning-Out Graphite (2012-13)

H33" x W115" x L93", Graphite pigment on steel, wood, aluminum, epoxy clay

While the recognizable industrial and natural wastes are deliberately made visible in the finished appearance, the whole body is covered with monochromatic graphite pigment, suggesting the artist’s view of all substances uniformly as raw construction materials. 

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  Three-legged Idol #3 (2013)    H19" x W9" x L7", wood, brass, copper, resin coated paper, sea shell, animal bone, oil paint
       
     

Three-legged Idol #3 (2013)

H19" x W9" x L7", wood, brass, copper, resin coated paper, sea shell, animal bone, oil paint

  Three-legged Idol #2 (2013)    H11" x W6 1/2" x L5", wood, brass, copper, resin coated paper, sea shells, animal bone, oil paint
       
     

Three-legged Idol #2 (2013)

H11" x W6 1/2" x L5", wood, brass, copper, resin coated paper, sea shells, animal bone, oil paint

  Three-legged Idol #1 (2013)    H12 1/2" x W7 1/2" x L5 1/2", wood, brass, copper, resin coated paper, animal bone,oil paint     
       
     

Three-legged Idol #1 (2013)

H12 1/2" x W7 1/2" x L5 1/2", wood, brass, copper, resin coated paper, animal bone,oil paint