Architectural design proves the importance of space relative to the human condition. This effect translates through all scales and contexts, where space becomes a critical element of both creation and reflection. The ancient Japanese concept Ma–which translates to pause or space–refers to a consciousness of place, and implies the void between all things. This void–relating to both space and time–is necessary for thought and retrospection. The following work centers on defining and activating space.

Venue I is the first in a series of COVID-safe, public, outdoor, light installations intended to activate urban spaces that would otherwise remain dormant. They are called ‘venues’ because they are places of gathering.

The Venue Series exists in a space between gallery art, public art, and street art. Gallery art is curated and crafted but insular and exclusive. Public art is accessible and integrated but bureaucratic and often out of touch. Street art is the most immediate and current connection to culture, but it is limited in material and temporality. Using the medium of light, Venues will try to connect art with people and people with people while bringing attention and value to overlooked or discarded spaces.

VENUE I  2020
Aluminum Channel, LED.
Site Specific

OPTIGONS are carbon fiber polygon structures optimized solely for form. These five distinct geometries are designed to activate and frame space, and with their thin, ultramarine components create an image not of material objects but of superimposed line art. Much of my work is about challenging perception in order to keep minds liquid, and these pieces are a distillation of that. I iterated through several thicknesses of material before settling on the dimensions that achieved the perfect visual balance between two-dimensional and three-dimensional perception. The vibrant, ultramarine blue, while providing a visually pleasing, high-contrast compliment to most environments, tricks the eye, adding to this blurring of object to graphic.

OPTIGONS  2017
Carbon-fiber, acrylic paint.
W 7  D 12  H 22

Composed of powder-coated aluminum and LED’s, SERIES is designed to lean against a wall using the surface as its reflector; this generates different light qualities depending on the reference material. Various lighting conditions can also be achieved by adjusting the object’s angle relative to a surface. Within a built environment, the point of intersection between floor and wall can feel static and dead; this is why we add baseboard molding, and cover them with furniture and objects in front of them. SERIES aims to both bridge and activate this intersection point, providing variable visual interest and lighting. SERIES gets its name from the repetition of form in its composition. Founding minimal artists such as Sol LeWitt and Donald Judd utilized repetition, or visual rhythm, as a means to a personal connection and meditation, relating to our own natural rhythms. SERIES expands on these experiments, creating an adjustable light object that activates space and is calming in form.

SERIES  2017
Powder-coated aluminum, LED
W 34,84  D .5  H 26
Edition of 12

Y Table is the reorganization of a basic structure in order to create active negative space and dynamic graphic composition. It is comprised of square stock steel rod with a tempered black glass top. The archetype of a table is four vertical legs and a top. This piece challenges the archetype, but in a simplified thesis so the relationship between it and its predecessor is apparent. By shifting the structural members of the table, the piece challenged convention, while at the same time creating a formally more dynamic piece. The two opposing corners become cantilevered, which opens up the negative space underneath, which is then activated by the diagonal structural member which cuts obliquely through the center. Y-Table aimed to prove that with the same pieces, something better can be made. 

Y-TABLE  2010
Steel, glass.
W 18   D 18   H 18