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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Shovel, Sword (2011)
H37" x W100" x L49", Resin mounted collage on stainless steel, wood, glass
Rake (2011)
H77" x W53" x L38", Bamboo, resin coated soil, glass, ceramic, wood, terracotta
Manufactured Corrosion in the Pavilion (2009)
H113" x W75" x L60", epoxy clay, steel, dried fish skin, plexi glass
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
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
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 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
Warrior (2007)
H73" x W46" x L88", beads on steel, resin, brass, copper, silk
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
installation view in New York (2007)
Amagoi (2006-2013)
H93" (variable width and length), steel, fabric, glass, rice paper, collage on paper
Court (2006)
H79" x W75" x L85", steel, fabric, wood
Untitled (2004)
H45" x W23" x L14", plaster, fabric, wood, found objects
Oneness (2003)
H64" x W33" x L132", steel, glass, fabric, nylon fiber
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. 3 (2001)
installation, glass, plaster, cement
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
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.
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