My Yupik and Inuit students taught me traditional direct-carving techniques in antler, ivory, and soapstone.
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Returning to Vermont, I applied the same direct-carving sensibility to the stones the glaciers discarded in our fields.
To bring my carvings to eye level, I experimented with pedestals that further accentuated the inherent characteristics of a stone.
Upon moving to urban neighborhoods around Boston, I “carved” the freight pallets found in abundance.
Guerrilla installations used my direct-carving sensibility to explore the characteristics of a site. Repetition became ritual.
Time-specific installation explored pregnant moments and how moments of alignment could add meaning to a space.
A series of site-specific installations drew inspiration from the social and historical significance of a place.
In Silent Suburb, 16 wooden birdhouses, with black circles painted where an entrance hole should be, are arranged in a 4’x4′ grid.
Stacking a Line installations use sand and stone cone formations to explore themes of toil and transience.
The suck series integrates formations of wet clay with dehumidifiers to trigger natural, dynamic processes.