P.D.A. (part 3): Place du Tertre, Paris
5 April, 2010

Typefaces: Various from Jean François Porchez | PTF Typofonderie

About P.D.A.: Public Displays of Art:

Following guerilla style advertising campaigns – identifying the days and locations of the “art shows” – a series of small spontaneous, public, exhibitions of sculptures was held. The locations were heavy trafficked, often tourist hot-spots, and full of people taking photos. Part performance, part discrete operation, the ceramic sculptures were setup and documented with photographs. They were then left in place to be discovered, appreciated, kicked over, taken home, or thrown away depending on who interacts with them.


Read More →
P.D.A. (part 2): Piccadilly Circus, London
3 April, 2010

Typefaces: Various

About P.D.A.: Public Displays of Art:

Following guerilla style advertising campaigns – identifying the days and locations of the “art shows” – a series of small spontaneous, public, exhibitions of sculptures was held. The locations were heavy trafficked, often tourist hot-spots, and full of people taking photos. Part performance, part discrete operation, the ceramic sculptures were setup and documented with photographs. They were then left in place to be discovered, appreciated, kicked over, taken home, or thrown away depending on who interacts with them.


Read More →
P.D.A. (part 1): Trafalgar Square, London
30 March, 2010

Typeface: Platelet

About P.D.A.: Public Displays of Art:

Following guerilla style advertising campaigns – identifying the days and locations of the “art shows” – a series of small spontaneous, public, exhibitions of sculptures was held. The locations were heavy trafficked, often tourist hot-spots, and full of people taking photos. Part performance, part discrete operation, the ceramic sculptures were setup and documented with photographs. They were then left in place to be discovered, appreciated, kicked over, taken home, or thrown away depending on who interacts with them.


Read More →
As Seen In…
15 September, 2008

Every so often a masterpiece is created that makes its way into the mainstream art world. These pieces have been shown in some of the most prestigious museums in the world: Tate Modern, Le Louvre, Musée d’Orsay, and the Centre Pompidou.

Each piece and exhibition receives four images here. The first photo places the piece in the context of the museum, the second is of the sculpture during a separate exhibit, the third image relates the sculpture to the context of the museum it was shown in, and finally, the fourth image is of the museum map and how to locate this piece in the gallery space.


Read More →
Ceramics Exhibition in New York City
12 September, 2008

This show was at Parsons School of Design as a part of the TypeCon conference. This year’s conference theme was “Alphabet City”, which was the inspiration for the main portion of this exhibition – my Alphabet Cityscapes series.


Read More →
Billboards
10 September, 2008

These ceramic sculptures were made in collaboration with artist David Rowe. Vastly different aesthetic and conceptual statements come together to form a new and interesting partnership. These pieces feature powerful words with numerous implications that each viewer can interpret based on their own experiences.


Read More →
Alphabet Cityscapes
10 September, 2008

These ceramic sculptures were created for a TypeCon 05 exhibition with the theme “Alphabet City.” They are three-dimensional representations of 2D bitmap letters. A grid was made and, generally, the white cells were left flat while the black cells – pixels – were extruded to form abstract buildings. The basic letterforms are at times difficult to find in the city, so “maps” of the original letter sequences are provided alongside the pieces to both aid in identification and to give credit to the original type designers.


Read More →
ooo
9 September, 2008


This is a series of ‘O’s which explores various surface treatments and display methods. The letter ‘O’ often has the preconception of being a generic form; yet in reality one will find there are many shapes the letter can take. For this series the large inside counter provided many exciting opportunities. The seductive interior space here usually becomes the focal point of the letter – more so than the actual positive space. Represented in this collection are the typefaces Frutiger, Shithouse, Tiepolo, and Wilhelm Klingspor Gotisch. Most are about 5 or 6 inches (12cm – 15cm) in the largest direction. Of the fifteen here, one form is a zero and not the letter ‘o’.


Read More →
Ceramic Block Letters
8 September, 2008

These ceramic pieces are generally straight forward letters. The project began with two-dimensional letters produced on a computer and transformed them into three-dimensional versions made with earth formed with one’s hands. Experimentation and high-art conceptual status take a backseat to accurately translating the beautiful curves and angles of these landmark designs.


Read More →
Pages:«12