1982 WARRIOR MONUMENT
The figures on the pole are inspired by the video game warriors of my youth: Pac-Man, Donkey Kong, Frogger, Pinky, Space Invaders, Dig Dug and Q-Bert. I have taken the triumphant monument and applied it to pop culture combatants of the 1980s.

       
     

SOME SAY MORE WITH THEIR HANDS
John Winthrop, the first governor of Massachusetts once wrote, "We must delight in each other, make each other's conditions are own, rejoice together, mourn together, labor and suffer together, always having before our eyes our commission and community in the work, our community as members of the same body." Individually one's hands build, break, deny, welcome, wave, embrace, help or hinder. Collectively those choices determine one's community.

       
   

BARACK OBAMA: NAKED, LEVITATING
In the tradition of Greenough's George "Jupiter" Washington rises a new deity for a new age.
       
   

SPACE DEITY
Used materials from the studio reorganized themselves into a god.
       
     

I AM YOUR MAN. HORACE MANN
Public school for everyone; sharpen your mind and your pencil.
       
   

DECADENCE
A solo exhibition of work held on the Bridgewater State College campus.

       
     

THE BORDER
This piece was installed at the International Peace Park on the border of the United States and Canada in the northwest corner of Washington. The planned building of a wall between the U.S. and Mexico seems an archaic, expensive and exclusive solution to the immigration issues facing the U.S. in the 21st century. At this exhibition I wanted to explore the idea of a failed U.S./Canadian relationship. Through this humorously scaled model, complete with a solid concrete wall and guards at attention, viewers could imagine this situation. At the same time, viewers may recognize themselves as powerful in scale to the size of the sculpture, and, in turn, to the idea of peace.
       
   

CHRYSALIDES
This series of over one hundred turned aluminum forms was installed in different venues. The series was installed at the 2006 Key West Sculpture Exhibition and then permanently in The Children’s Memorial Park in Lee’s Summit, Missouri.

       
   

G. I. JOHN SERIES
The G.I. JOHN Series of sculptures and installations depicts an intrepid army of one. These life-size cast neoprene action figures promote anti-terrorism initiatives and defend core American values. This elite commando force has been deployed to numerous domestic targets:  national landmarks, state parks, universities, office spaces, parking lots and living rooms. Dedicated to the defense of American citizens in these volatile locations, G.I. JOHN is here.  

This series is in response to the notion of “us” versus “them.” “Us” obviously playing the role of the good and godly defenders of freedom at home and abroad, and “them” serving as “the other” or “evildoer.” I cast myself in the role of our fearless hero, embellishing my physique in synthetic material.  Our villain is never apparent but lurks somewhere in the periphery. These works have existed as sculptures in gallery space and also as installations for the purpose of documenting them through photography.
       
   

MUSHROOM CLOUD
With the United States entangling itself deeper into conflict in the Middle East, I was considering how small, seemingly unimportant decisions could develop into major conflict. I began to pay closer attention to inconsequential materials in my daily activity. This photograph shows a sculpture of a mushroom cloud made from a year’s worth of my collected lint.
       
   

SELF-PORTRAIT
This cast concrete piece was a large representation of my hand. The sculpture stood three feet in height, complete with the exacting detail of my fingerprints. It was part of the Katherine Shank Collection in Chicago.
       
   

O
This concrete and steel sculpture was inspired by a NOVA program about a mathematician who worked for several years to resolve a centuries-old equation. Art, like pure mathematics, is often in pursuit of something that serves no obvious practical purpose but, instead, has an inherent quality of beauty.

This sculpture was exhibited on the campus of Notre Dame, in downtown Indianapolis and took first place at a sculpture competition at Appalachian State University.
       
   

THE MORNING RITUAL
I created this sculpture while studying abroad at The University of Tasmania. The program was focused on furniture with an emphasis on inventive design with high craftsmanship. This piece reflected both my acquisition of new skills and my desire to create something that gave a sense of home. The cabinet includes moving parts, photographs, and music.
       
     

PSALM 23
This sculpture was from cast metals (both bronze and aluminum) and crafted wood. The title is derived from the biblical passage, “Yea though I walk through the valley of the shadow of death, I will fear no evil; for You are with me; thy rod and thy staff, they comfort me.” As the “rod” and “staff” might comfort the religious, an artist’s tools give her comfort. This group of mark making tools aids the artist in drawing ideas into sand, earth or water.

       
   

THIGHS
This sculpture of two advancing thighs reveals my early interest in the figure. The large size of the sculptures, approximately three feet tall, creates the sensation of impending doom from an oncoming Goliath.