New Sculptural Works, Summer 2026

I’m pleased to share a new body of sculptural work developing in the studio.

These pieces explore the pictorial surface and physical form as a continuous field of color, materials, shapes, and pattern. The painted surface extends beyond the traditional rectangle and onto dimensional forms. The installations naturally convey a sculptural presence while remaining rooted in the language of painting.

I create large compositions from simple shapes. I have been especially interested in the quarter circle shape because of how many visual relationships can arise from this one modest form. I think it’s something about combination of curved and straight lines… they feel structured but not entirely predictable. In Green Garden, the quarter-circle panels are lined up in a grid and the negative space takes on the role of a new medium as the open areas of the wall carry visual weight alongside the painted forms. Light and shadow also collect in these intervals and encourage the composition to respond to its architectural surroundings. I think it’s interesting how the work can be composed as much through absence as presence.

The petal installations are individual curved forms that gather into radiating clusters suggesting blooms, expansion, and organic growth. Repetition becomes a structural element as the shapes repeat across the composition, creating patterns that move across surfaces and into the larger sculptural arrangement.

3D modeling has been incredibly helpful in this process! I first develop each composition in Blender. I start by creating one individual model (such as the quarter-circle shape used in Green Garden). I multiply, rotate, and play around with the forms to explore how they behave through repetition at a large scale. The digital model allows me to consider the relationship between solid shapes and negative spaces, roughly establish the colors, and experiment with how movement might travel through the grid before fabrication begins.

The final forms are constructed from wood and crafted locally here in Charleston, using the same materials I use for my paintings.

I wrap canvas around the panels utilizing the same preparatory process I use for my paintings. The surface builds in a familiar way... I start each painting with layers of fluid acrylic and sand and periodically reference the digital model as a guide for the overall composition. The acrylic pools and stains into translucent fields, while the sand changes the weight and texture of the surface. This part of the process introduces a degree of unpredictability, allowing material behavior to remain in tension with the precise structures.

Across this body of work, different approaches remain connected by an exploration of how physical form can reconfigure the boundaries of the painted surface.

The works are designed for both temporary and permanent wall installation. For temporary displays, small double-pointed steel fasteners are pressed into the wooden back of each panel and then directly into the wall, allowing secure hanging and easy removal while leaving only minimal pinholes. Permanent installations use concealed Fastmount® clips for precise, durable attachment.