Chronological Diary of images and sketches, starting with the most recent, reaching back 20+ years
February 2024. Preparing a series of sculptures for a new development in Arvada CO. I appreciate the continued help from Mathias Leppitsch, who has worked with me for over a decade now with various projects and ideas.
January 2024. I visited the folks at EES Design Studio to view the progress on some big work that they’re fabricating for my commission in Pittsburgh. Im excited about how these are taking form and can’t wait for them to make into the public view.
January 2024. Im revisiting the edge of the glaciers I visited in Svalbard/Spitsbergen last October, drawing (literally and figuratively) from my notes and memories against the photographs taken. It’s a bit like walking the lines of these frozen shelves that could never safely be navigated on foot. And it’s a bit like looking at the layers and blocks of glacial history, hundreds of thousands of year old. Studying these through drawings allows me to connect to something more tactile and some how satisfies an urge that I couldn’t touch when I was there.
October 2023. In the Autumn months of this year my attention and creative practice was focussed primarily on the two weeks I was able to spend in Svalbard during my time with the Arctic Circle Residency. These places and the atmosphere I was immersed in will continue to inform my understanding of climate change, landscape, ice and the ocean for years to come. There is a potent energy of recession and change in Svalbard that I absorbed during our days at sea and on land, while I also couldn’t help to be seduced by the beauty and sense of time that the far North presents. Non the less, the brutal lines and shapes of glacial decay and the transformation of a landscape that is warming was apparent. Not unlike my fellowship in Iceland 23 years ago, I was able to engage with a very different natural tempo where my perception of scale was overwhelmed by the relationships between land and sea. In some places the impact of global warming can be read in the vegetation of that ecosystem, while in Svalbard the transition seems almost entirely evident in the forms of water and stone/sediment. I left trying to negotiate an ominous awareness with the inherent optimism that nature provides when my thoughts are balanced against the broad expanse of this earth.
May 2023. It’s been great working with the stellar team at Longmont Museum. This exhibit, agriCulture, was curated as a collaborative exercise between farms/farmers and artists. I got to spend time with a 5th generation Boulder County farmer to better understand his perspective regarding the land, farming and providing a necessary service for society. The scale of his farming operations and our perception as consumers was a driving concept for me, leading me to collect and use the corn stalks from 1/2 of an acre to further reveal the relationship between the supply chain to our kitchen. The screen is the visual organization of this relationship, while also a tribute to one of my first employers and mentors, Andy Goldsworthy, who exemplifies the relationship between an artist and the agricultural community. Goldsworthy also creates screen constructions of natural materials to reveal multiple layers of visual information and spatial dynamics. This exhibit will run through December 2023.
January 2023. One of the best parts of flying in and out of Denver is checking in with a close friend in different conditions than the last time.
September 2022. It was a pleasure and honor to exhibit the glass sculptures with Walking Mountains Science Center over the summer. Through art and our shared interests in the environment, friendships were made and I look forward to working with this community again in the future.
August 2022. During the dark evening hours, the Bale is flooded with light internally, with discreet in-ground light bars. CSU Spur Campus, at the National Western Complex in Denver.
July 2022. The Wandering Line sculptural railing was finished this summer for Sound Transit of Seattle. This project is located in Bellevue, WA and will open with the light rail line in a year or so. Fabrication Specialties of Seattle built this project as one of the last projects out their door before closing after 40 years.
July 2022. The Fractured Hemispheres and Fissured Block sculptures have been installed at the Walking Mountains Science Center in Avon, CO for the summer season.
June 2022. The solstice shadows cast from the Sun Silo.
June 2022. The Bale sculpture was installed and the Terra Building, on Colorado State University’s SPUR campus in Denver, CO.
April 2022. The blue wall before the morning lecture. Orvieto, IT
March 2022. San Carlo. the celestial basin. Rome, IT
March 2022. Orvieto from Convento Cappuccini. #2 pencil
February 2022. graphite disk on raw pigment
September 2021. Honored to be given a week at Falling Water to meditate on the home, the architecture, the land and the sky.
September 2021. I learned that FLW at one point had envisioned the stucco surfaces of Falling Water to be gilded in gold leaf. While anyone can imagine the maintenance nightmare of that, the dynamic play of light would have been incredible emerging from the stream banks.
September 2021. The Windmills at the University of Colorado in Colorado Springs. Late summer evening stillness.
June 2021. The incremental fabrication of the Bale, one arc at a time, one weld at a time.
May 2021. Terminal 2 Ft. Lauderdale International Airport.
May 2021. New Orleans convention center. Many thanks to Silo Workshop for the fabrication. I can’t say Ive ever sweat so much during an install, nor have I ever sweat while working in the rain. Its great to see this one in place, and to have worked with such a wonderful city.
January 2021. Preparing works for a gallery exhibit at William Havu Fine Art in Denver.
October 2020. The Windmill Project installed at UCCS with the Gallery of Contemporary Art’s (Art Without Limits) program. The windmills will be on Austin Bluffs Open Space, revealing the behaviors of wind and our relationships with it and the landscape. Thank you to all the wonderful people that helped install this project.
October 2020. The Windmill Project installed at UCCS with the Gallery of Contemporary Art’s (Art Without Limits) program. The windmills will be on Austin Bluffs Open Space, revealing the behaviors of wind and our relationships with it and the landscape. Thank you to all the wonderful people that helped install this project.
August 2020. The Bows at Cranmer Park in Denver. Thank you to all the incredibly enthusiastic neighbors that wanted this work, and to Mathias for once again busting-tail with me in 90 degree heat to get another project installed.
April 2020. The Bale. A shell of the form, a passage, a composite of space, shadows and light in woven stainless.
May 2020. Building models and playing with shadows.
March 2020. Sketching the movement, the space occupied by a thought.
February 2020. Sun strokes cast by the Sun Silo at Lowry, Denver.
September 2020. Softened Post.
August 2020. Softened Post Sketch.
July 2020. Ears
February 2020. Charred impressions
December 2019. seven waves
November 2019. music
July 2019. Chromatic Casting in the shadows. Old school paper models, with real sunlight, yet ultimately rejected as a proposal
June 2019. refraction and manipulation
July 2019. Revisiting the Contrails landscape sculpture at Dallas Love Field. Created in 2017
June 2019. “wear with pride, the scars on your skin”
December 2018. Bamboo stalks in the convent library. Orvieto
December 2018. Mossy stone grid, morning shadows. Orvieto,IT
November 2018. Filling that god shaped hole. Orvieto,IT
November 2018. La Volpara. Fabro,IT
November 2018. Mossy Shadow. Orvieto, IT
November 2018. Scarpa’s Tomba Brion. Treviso, IT
November 2018. Scarpa’s Tomba Brion. Treviso, IT
October 2018. morning sun burning through the Orvieto fog
October 2018. The Windmills suspended in the courtyard of Jackson’s Center for the Arts, WY
October 2018. The Windmills suspended in the courtyard of Jackson’s Center for the Arts, WY
August 2018. Victor, CO. This sculpture, now cradled by three aspen trees, was part of a series of stone sculptures created as part of a larger project exploring the aesthetics of mining and the mountain landscape. The Dallas Museum of Art provided a modest grant, one of my first, back in 1999, allowing me the time and tools to follow an idea. It’s those early pushes that help so much.
June 2018. So honored that Janet would share this space with my work and perform for the opening of the exhibit.
June 2018. Buell Theatre, Denver, CO. Drawing is an integral part of my process and routine as an artist, and it’s wonderful to see so many years of drawings exhibited together. Thank you Rudi at Arts and Venues for coordinating this exhibit.
June 2018. Goodwine Fine Art, Denver, CO. modest materials, building space on the wall.
February 2018. urban laundry. charcoal on paper
February 2018. Padre
September 2017. the impressions left behind
June 2017. Fabrication of the Sun Silo at the Cherokee Street Studio.
November 2016. A maquette, the maze of life.
August 2016. Squiggles drawn into space.
June 2016. The Serrated Crest for the Damour’s
July 2016. Photograms for the Residuum Exhibit at Goodwin Fine Art.
September 2015. Visiting the Boulder of Hands in East Vail.
2016. Solar Drones at National Music Centre, Studio Bell, in Calgary AB.
September 2015. Mathias Leppitsch and myself finishing the Shadow Array at Denver International Airport. Mathias managed this project down to every last detail at every moment.
September 2015. The Shadow Array at Denver International Airport, finished. City and County of Denver Public Art Program.
September 2015. The installation of the Shadow Array at Denver International Airport. City and County of Denver Public Art Program.
September 2015. The installation of the Shadow Array at Denver International Airport. City and County of Denver Public Art Program.
June 2015. JL at the NMC, Calgary. Testing a Solar Drone Prototype.
April 2015. St. Patrick’s Well, Orvieto, IT
April 2015. Shadow Array logs, peeled and prepped for install. Watkins, CO
January 2014. Rusted Shadow Line, Denver Botanic Gardens
November 2013. The Windmill Project covered in Denmark.
June 2013. Glass Void.
June 2013. Confluent Boulders. Maple Leaf Park, Seattle WA
May 2013. Shadow Array Concept Sketch.
April 2013. Chasm, and meeting of folds
2013. strata.
2012. Virga Sound Perfomance. Morton Waller. Commissioned by the City of Denver. Coordinated by Rudi Cerri and Patrick Marold
2012. Steel Void.
2011. Virga at Sunset. Delgany Pedestrian Bridge, Denver, Colorado
June 2011. String Installation. UCCS, Galleries of Contemporary Art. Exhibit with Pard Morrison. Thanks to Daisy McGowan
April 2011. Walnut Sculptures. Arrajj Federal Courthouse, Denver. GSA
March 2011. Mountain. Salvage cable real ends.
April 2010. Woven Wall. Boulder, Colorado.
February 2010. Avian Front. Denver Zoo/ City Park. City and County of Denver. Over 15000 feet of salvaged steel pipe. Myself and a team of fabricators made this 400’ long sculptural barrier in my studio, one piece at at time, one weld at a time. Extra thanks to Joseph Chiarrelli who helped from start to end.
July 2008. Blackened Stack.
August 2008. 7 Measures. Black Walnut.
March 2007. Most of the team that made it happen, and the others were just as appreciated. Windmill Project, Vail.
June 2005. Bob and Peggy Mangold invited me to install a work in their legendary Denver gallery, Artyard. It was an honor to get to know them both and engage with a space that held so much history for the regional art scene.
June 2005. Steel Arcs. Simple study with balance and potential movement.
May 2002. Branched Drogue. Nantucket Island. As the resident artist at NISDA I worked in the studios over the winter, creating a series of sculptures using the logs and branches from a diseased poplar tree that was felled the previous summer. This was one of 5 sculptures from that series.
March 2001. Woolen Bundles. Iceland.
November 2000. Spark Drawing. Iceland.
October 2000. Lopi from the barn skylight. Iceland.
July 2000. First String Installation from the silo at Nantucket Island School of Design and Art. 3 days on a ladder, with great weather.