Suspension
2015
9" X 12"
Mixed Media
2015
9" X 12"
Mixed Media
Plane Eccentricity
2019
Glass and Soldered Hinge
2019
Glass and Soldered Hinge
Sax House Painting
2015
Mixed Media
2015
Mixed Media
Ceramics
Crystal Clay
2015
Photo Collage in Glass
2015
Photo Collage in Glass
Bread Platter
2014
Raku fired Clay
2014
Raku fired Clay
Lindsey - Self Portrait
2014
18" x 24"
Walnut wood, plexi-glass,
photo, resin
2014
18" x 24"
Walnut wood, plexi-glass,
photo, resin
Lindsey
2014
Detail
Mixed Media
2014
Detail
Mixed Media
Lindsey
Side View of Matrix
Side View of Matrix
Hunter
2014
13"x19"
Walnut wood, plexi-glass,
photo, resin
2014
13"x19"
Walnut wood, plexi-glass,
photo, resin
Scott and Hannah
2014
8" X 11"
Mixed Media
2014
8" X 11"
Mixed Media
The Fractal Series began last summer in Ireland when I picked up a piece of crystal that had fallen from a chandelier in an ancient castle and hit my head. I have long been intrigued with crystals and their legendary healing/metaphysical properties. Holding my camera in one hand and the crystal in the other, I experienced one of those “Aha...!” moments as I walked through the castle taking photos of random objects using the crystal as a lens. I was amazed at the way the crystal split the subject into multiple fractals. At that moment, the fractal, defined as a complex geometric system demonstrating self-similarity in structure with ordered and repeating patterns, became my unifying concept in these cubist compositions.
My next step was to photograph people in an environment through the eye of the crystal, as a way to connect humanity with the unseen. These thoughts, experiences, and experiments culminated in a series of artwork pieces combining sculpture, photography, and painting, illuminated with natural lighting. This invention process began with the initial photos, using purely the crystal to refract images, and transitioned into my “paintings” where I, as the artist, took the photos--printed on Mylar and enhanced with paint--and cut them up. I was in control of the manipulation as I distorted and rearranged these fractal images with added pieces of broken stained glass layered with resin. Using each box as my matrix, I essentially created a new fractal reality within its micro-universe of humanity in an environment. The artwork is displayed in the stained glass tradition, allowing interaction with light and time of day. Although each stand-alone “window” is modern and abstract, the intersection of subject and light provides animpressionistic feeling. Activated by natural light, the greatest effect is reached at sunset when the sun is low and direct in the sky.
My next step was to photograph people in an environment through the eye of the crystal, as a way to connect humanity with the unseen. These thoughts, experiences, and experiments culminated in a series of artwork pieces combining sculpture, photography, and painting, illuminated with natural lighting. This invention process began with the initial photos, using purely the crystal to refract images, and transitioned into my “paintings” where I, as the artist, took the photos--printed on Mylar and enhanced with paint--and cut them up. I was in control of the manipulation as I distorted and rearranged these fractal images with added pieces of broken stained glass layered with resin. Using each box as my matrix, I essentially created a new fractal reality within its micro-universe of humanity in an environment. The artwork is displayed in the stained glass tradition, allowing interaction with light and time of day. Although each stand-alone “window” is modern and abstract, the intersection of subject and light provides animpressionistic feeling. Activated by natural light, the greatest effect is reached at sunset when the sun is low and direct in the sky.