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 a combination of curved and straight lines… when they are brought together the result feels structured but not entirely predictable. Within the Green Garden arrangement quadrants are organized in a grid. As I’m placing each shape, I cultivate room for the negative space to take on the role of a new medium. Pockets of bare walls visible through the openings create their own visual weight that compliments the paintings. Noting these moments is a new experience for me as someone who has by and large been a two dimensional painter. I am drawn to how light and shadow collect in these intervals and it encourages me to consider how the work might respond to its architectural surroundings. The process continually invites the question of how a composition can grow as much through absence as presence.

The petal installations are simple curved forms that are gathered into radiating clusters… bringing to mind themes of blooms, expansion, and growth. Repetition becomes a structural element alongside the organic marks within the paintings. Pools and stains of translucent acrylic are given a tactile presence by the sand’s physical texture. Within this context the unique peculiarities of each material introduce a degree of unpredictability that cultivate an interesting tension as they are integrated into the systematic framework of pattern.

3D modeling has been incredibly helpful in this process! I first draft each composition in Blender. I start by creating one individual model (such as the quadrant 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.

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.