Materials: Enamel Paint on Steel
Dimensions: 4’x3’x2’
2023
A Sculpture is a visual poem. A flickering feeling, a fleeting moment, met with an omnipresent tension. An uneasiness sets into my stomach and I create. Cut, hammered, forged, welded, and painted steel fabricating my material, just as I fabricate the fiction. Creating a new lexicon made up of a synthesis of wild animals and domestic objects of an American household.
The animals are caught in human habitats. Their features echoed in the furniture they are tethered to. These animals serve as metaphors for human characteristics, and depict how strange the human animal is. Our comfort creates the confines within which we live. The biggest barrier being within our minds. Under every roof every situation exists, the light, the dark, the good, the bad. It's up to us to choose how we live our lives.
Materials: steel, enamel paint
Size (in feet): Height 4’, Length 3’, Width 2.5’
2022
A Sculpture is a visual poem. A flickering feeling, a fleeting moment, met with an omnipresent tension. An uneasiness sets into my stomach and I create. Cut, hammered, forged, welded, and painted steel fabricating my material, just as I fabricate the fiction. Creating a new lexicon made up of a synthesis of wild animals and domestic objects of an American household.
The animals are caught in human habitats. Their features echoed in the furniture they are tethered to. These animals serve as metaphors for human characteristics, and depict how strange the human animal is. Our comfort creates the confines within which we live. The biggest barrier being within our minds. Under every roof, every situation exists, the light, the dark, the good, the bad. It is up to us to choose how we live our lives.
Materials: steel, enamel paint
Size (in feet): Height 4.5’, Width 3.5’, Length 3’
2022
Materials: Watercolor on cold-pressed paper, resin, acrylic sheet, found fence posts, servo hardware, arduino software.
Size(in feet): Height 2.5’ Length1.5’, Width .75’
2021
Social-norms, expectations, and interactions all play a heavy role in creating an individual. We may get to choose our reality, to an extent, but that choice is fueled by outside stimuli and the precedence of history.
The home is a great metaphor for social constructs, and how we are conditioned to our reality through commodity, relationships, and environment. I have moved a lot in my life, and am now a part of a transient population in a college town. A home built for a traveler’s heartbeat is meant to speak of trying to, but never really being able to grow roots. There is an expectation of what a home is, the people that inhabit one, a nuclear family. Here in Lubbock, I have observed a migratory pattern. Just like birds, who migrate, and build new nests with the changing of seasons. People come, and people go. Often time’s travelers are left missing something, someone from a place that is just beyond their grasp, and just as I have found myself, even when you return home, it’s never quite the same as when you left. You have changed, and so has it. You no longer fit within the social constructs of a previous time. You have grown in an unexpected way, that now leaves for a longing of another place and time that no longer exists.
This is a home, built to my personal scale, which is meant for a single person to inhabit at a time. This stick frame home leaves the inhabitant exposed, as the plasma cut steel that is the siding leaves openings for others to see who resides within. This feeling of exposure is magnified by the holes in the roof, and the forged steel branches that weave throughout. In this home, you are alone, and exposed. There are meant to be feelings of discomfort as viewers enter, for not fitting within social constructs can be a scary place to be.
Materials:
recovered 2x4s, plasma cut steel, fold formed steel, forged steel rod, donated laminate flooring, 330lb castors, aluminum corrugated galvanized steel roofing, past wax, recovered floor lamp, programable light, recorded audio of crickets, speaker
Size(in feet): Height 12’, Length 6’, Width 3.5’
2019
A Sculpture is a visual poem. A flickering feeling, a fleeting moment, met with an omnipresent tension. An uneasiness sets into my stomach, and I create. Cut, hammered, forged, welded, and painted steel fabricating my material, just as I fabricate the fiction. Creating a new lexicon made up of a synthesis of wild animals and domestic objects of an American household.
The animals are caught in human habitats. Their features echoed in the furniture they are tethered to. These animals serve as metaphors for human characteristics and depict how strange the human animal is. Our comfort creates the confines within which we live. The biggest barrier being within our minds. Under every roof, every situation exists, the light, the dark, the good, the bad. We choose how we live our lives.
Materials: Enamel paint on Steel
Size (in feet): Height 2.5’, Length 2’, Width 2’
2023
Materials: resin, pigment, silicone, steel, plexiglass, epoxy.
Height 3’6”, Length 2’, Width 1’ 8”
2023
Materials: Steel, Canvas, Gold Leaf, Acrylic Paint, Enamel paint.
Size (in feet): Height 2.5’, Length 2’, Width 1.5’.
2022
With this necklace, I speak to my experiences bicycling. The rubber of the inner tubes, not a material thought of as female, but I make them into ruffles and fringe. Inner-tubes certainly not to be worn around someone’s neck. The title is For all those times my face hit the pavement while looking at the sun through the trees, how very un-ladylike. I am once again giving a female voice to materials that are thought of as masculine. Thus, I feminize them, in my labor. And as I think of myself bicycling, I also am made to think of the first feminists, who also saw the bicycle as a newfound freedom for women, so that they may leave their kitchens and babes. An idea that was met with resistance.
Bicycles were considered masculine, up until the 1890s because they could not be ridden side-saddle, thus may ruin a woman’s virtue. In 1896, women adopted them as their own, as the bicycle gave them new freedom of movement, and also allowed them to wear less restrictive clothing that aided in that movement, this was not without it many male critiques.
From the beginning, bicycles have been associated with feminism. The Suffragettes also associated the freedom that came to women through bicycling, as being the catalyst that allotted women’s suffrage to be successful.
Materials:
Bicycle Inner-tubes, Fold Formed Brass, Brass 22G wire, Brass 14G wire jump-rings & Closure, Forged Steel Display
Modeled by: Carolina Alamilla
2018
Materials: 3D print cast in bronze, pink plexiglass, Purple Heart wood, cherry wood, plexiglass mirror, 18g brass sheet
Dimensions: 61”height, 17”wide, 14”long
2024
Solo Exhibition, August First Friday Art Trail, 5&J Gallery Charles Adams Studio Project (CASP).
2023
I use metal fabrication and casting to create installation's made of steel and other materials.
Solo Exhibition
May 2019, First Friday Art Trail, Satellite Gallery, Lubbock, TX
Do you really want to live on Mars? is an oil slick installation in which I speak of how our efforts to mine our earth’s natural resources have carelessly terraformed this world, creating a hybrid landscape that is an amalgamation of toxic gasses, plastic parts, and chemical waste, all oozing over the natural resources that we, and all other life on this planet, depend on. I used synthetic materials, and a mold making processes to speak of the repetition and byproducts that are common in many commercial processes. There are pustules, oozing out brightly colored goo, and the landscape is painted black, branches and twigs protruding from the surface to create a natural landscape that has been transmogrified to something new, unrecognizable, and undesirable. 3D printed, mutant snails crawl across the surface, their homes on their backs, a suggestion of the need for a massive migration when there are not enough natural resources to sustain humanity.
Materials:
polycarbonate body filler, spray foam, black spray paint, fallen sticks, silicon, acrylic paint, pencil rod, chicken wire, 3d prints, hot glue, black duct tape, silver yarn
installation
2019
In the series the baggage we carry, I explore the idea that a sculpture is a visual poem. Cast bronze handles on each of these sculptures, dictates that they are to be carried, awkwardly, as the narrative elements protrude and create imbalance. These elements combine to speak of the burden that can come with memory, and how, perhaps we should just set these things aside, focus on the larger scope of things, and move on with our lives. Ideas may come from my personal experiences with life, however, the concepts are broad enough to reach a larger demographic.
In You can’t see the wind blow, but you will feel it when I go, I talk about leaving a relationship, and the loss of love, an all too common subject in poetry and songs. The suitcase is an open heart-shaped box, the edge burned with a torch to symbolize the scorn of a past lover. Cast bronze dear skull, the death of something innocent, as doe are not predatory creatures, but graceful beasts that spend their days grazing on the open plains. Antlers are made to look like branches with leaves that dangle and move, as though they are blowing in the wind. This is to symbolize change, and growth, for in every ending there is a new beginning.
1. Spaghetti western, together we ride off into the sunset
2. tell me the things about you, that I can’t read about on the internet
3. you can’t see the wind blow, but you will feel it when I go
Materials:
cast bronze, copper wire, 22g copper sheet, etched brass, plasma-cut steel, forged steel
2018-2019
Forged Steel, 2x4, Split Logs, Wood Chips,, Acrylic Paint
2016
Leave a light on for me is about going on a journey and returning home. The people you missed when you were away, and being reunited with those you love.
Materials: 12g steel, polycarbonate body filler, cast aluminum, castor, acrylic sheet, copper sheet, copper wire, light bulb, and hardware.
Dimensions: 1’x8”x1’
Visual Poems, Solo Exhibition, South PlaIns College Fine Arts Main Gallery, Curated by Kristy Kristinek, Levelland TX, March-April.
2023
experiments & maquettes
each smaller than 1 cubic foot
2019-2020
Something as simple as a pink flamingo adorning someone’s lawn in a dry desert climate devoid of marsh not only speaks to the person’s psychological need to connect with a landscape that is not their present but a suspension of disbelief in thinking that such creatures would want to live on this person’s lawn. These plastic pink birds are kitsch, and it is precisely this reason that I like to think of them as an unofficial mascot of Las Vegas, a thriving metropolis that was built in an area that did not even have a natural water source before the Hoover Dams creation.
Materials:
Cast Aluminum, Forged Steel, Casting Plastic, Paint, Pigment
Size (in Feet): Height 5.5’, Length 4’, Width 2’.
2018
Materials: Acrylic on Canvas
2023
I know they say you reap what you sow, but I can’t change the world so we may as well watch the grass grow
People have a need for food, love, and a place to call home yet we built machines to conquer. Whether it is a machine that mines, a machine that kills, or a machine built to store information, humanities machines are built to harness, and capture the natural world that surrounds us for our advantage.
Driving across the vast West Texas landscape, across the great plains one sees pump jacks pumping back and forth.
I know they say you reap what you sow, but I can’t change the world, so we might as well watch the grass grow, I speak of how we carelessly pull nonrenewable resources from the earth despite our knowledge of the unsustainability of this process. Little to nothing has been done by us in the United States to change this process in favor of something more sustainable. To watch the world continue to roll around on these crude wheels of generations past is frustrating.
The infrastructure of this resource is fragile always moving from place to place. The oil industry leaves detritus and rusted old machines strewn across the vast landscape.
This is an abstraction of a pump jack materials of steel and aluminum are used to build this sculpture just as they are in the actual machine. I cut patterns of flowers and leaves, forged roses and branches are connected to this sculpture, not only to demonstrate that which we are taking from in our continued practice of mining for oil but to symbolize my female take on an industry that is historically thought of as male. In this, there is a rebellious feminine act, as it takes great labor to create with this ridged material something more organic. These materials are misbehaving; they are not acting like the ridged industrial material we have come to expect, and in that there is rebellion.
Materials:
16g steel, pencil rod, forged steel rod, cast aluminum, 2” square steel tubing, plastic-wrapped steel cable, paste wax,
2019
A metaphysical self portrait, in which I am documenting my existence in space & time
Plasma-cut 12 steel, hand-made pencil rod chain, light, extension chord, recovered bellhop cart, paste wax. canvas, custom built stretcher, acrylic paint, silver leaf, video
2020
We all dream of falling to remind us that everything in life changes and evolves.
In this sculpture, a frog caught in suspended animation as these amphibians have evolved from tadpoles. Connected from his landscape on a network of chains, to symbolize the cycle of life, and show that we are all connected in some way. Behind him, painted a depiction of his ultimate death. A reminder of what all living organisms fear, and death’s inevitability.
Materials: resin, acrylic sheet, basswood, tree branches, polycarbonate body filler, dead fly, oven-bake clay, brass sheet, brass wire, brass tubing, copper wire, paper, watercolor, acrylic paint, miscellaneous hardware.
Size (in feet): Height 4’, Length 3.5’, Width 2’
2021
In this visual poem, I illustrate a small storyline, the setting a plank of wood, the subject, the cast objects, and the action is in the forged roots that bind it all together.
Materials:
Cast 3D prints in Aluminum & Bronze, Laminated Purple Heart & Cedar, Forged Steel, Prismacolor Pencils
2017
Tabel
Specimen's- educational wood Sample container
File Box
Platform for 3D printer
Detail of Platform
Cabinet Collaboration with Justin Mowray Tattoo
Interior detail of cabinet
Shelves in 3D print lab
Vacuum Accessories
Cabinet for 3D Print Lab
4 identical Bookshelves
Pedestals for Ceramics Symposium- each built to hold over 550lbs of breakable ceramic
The Dodo bird is an Americana representation of the detritus that is left in the wake of capitalism. A creature found on the New World shores by the first pilgrims. Thought too stupid, and too slow for survival. No longer. Gone by the powers of man. (I am sure you noticed the rather phallic beak). In our quest to conquer, we erase. Why save that which has no measurable intellect nor foreseeable function. Manifest Destiny for the new omnipotent, technologically, savvy free world. Where do we go from here…
So the Dodo bird is extinct & new technology will help the human the beast..…or are we just spinning our wheels, on the path to nowhere?
Materials:
polycarbonate body filler, copper wire of various gauges, 20g brass, brazing rod, plastic flowers, spray foam, PVC fabric, programmed Arduino, servo, acrylic paint, liver of sulfur, glitter vinyl, silicon, sequins, glitter, birchwood
2020
In our world, the most sustainable systems are circular ones. If we are to continue residing on this planet, perhaps humanity should adopt similar circular systems. An example of such a system is in the wind turbines one sees as they travel eastward atop the rolling hills of Texas. Stretching far above any other man-made structure, an effort to harness the wind. The wind is a force frequently felt, but rarely seen. In our intention to harness the wind there is more authenticity, for, with each breath we take, we also capture a fragment of energy from the wind as we convert oxygen to carbon dioxide. In this way, the wind turbines mimic our bodies, and systems found in nature. In our replication of natural processes, there is sustainability and interconnectedness with machines and the world around us. In our interconnection to all things there is beauty, and why not choose to have more beauty in the world.
Towering at nearly 16’ Inside the spaces between breaths is an asymmetrical wind turbine meant to visually capture the chaos in the wind and in our every breath. Tangles of flowers and twisting of steel rod interlocked within structural elements speak to our connection to this planet as the configurations look like the double helixes in our DNA. Elements clustered on top of crude wheels, an homage to our first machines. These wheels demonstrate not only our human need to be able to conquer even the wildest entities present in our world but how people have traveled to the farthest reaches of our planet to obtain resources deemed valuable.
Materials:
12g steel, 2” steel tubing, forged steel roses, cast aluminum, plastic-coated steel wire, patina.
2019
wash it all away
copper, liver of sulfur, cast soap, performance
2019
Materials: Turned and Carved Basswood, RIT dye, Plaster, Copper tubing, glass beads
Year: Fall 2015
3D prints, polycarbonate body filler, Hemp String
2017
Cast Aluminum, Forged Steel, Paste Wax
2018
“Taking Up Space”, Installation Exhibition, Texas Tech University, School of Art, Lubbock, TX
Cast 3D Prints, Steel Armature, Newspaper, Bondo, Blue Flocking, Texturized Rock Paint, Painted Astro-Turf
2018
I create flowers out of steel, a material chosen by industry for its strength, and reliability. These flowers are meant to challenge the cultural assumption of a flower, to be soft, to be blown about by the whims of the wind, to be trampled. I challenge the ideas of femininity with these, they may be flowers, but they are strong. This is my defiance through my labor, my hammering, my welding, I give a voice of femininity to a material that is thought of as largely male.
Materials:
Forged Steel, Fold formed steel, Casting Plastic, Blue Pigment
2017
Medium: Laminated 2x4, Square Steel Tubing, Cast 3D Prints, Astro Turf, Bondo, Spray Paint
Year: Fall 2017
16g Steel, 20g Brass, 16g Copper Wire, Wingay Wood, Paste Wax, Microscrews
2018
Materials found around my home
2018
Ecosystem change and grow, through labor, and environmental factors caused by man.
I call these sculptural items my hybrid landscapes for they deal with ideas of natural process run through man-made materials and processes.
Through the process of death, we see new life. The process of life and growth is one that I mimic with the hammering of my hand, as I mark the time it takes for a single branch to grow forging out long tendrils. I mold and cast ducks and a lobster, the ducks are a common sight in many lakes, the lobster, absurd. Resin planks of bright green water hold up the ducks and are reflected in the chandelier of artichokes that is hung above. A synthetic sun, shining through leaves. This is a small ecosystem. A hybrid landscape. The water’s fine is made of synthetic and man-made materials, not unlike many of the man-made lakes and ponds that surround human habitats. These natural habitats in the suburbs, are anything but authentic, as they are carved out in urban environments, and a frequent hub for human carelessness.
Materials:
cast aluminum, forged steel, resin, light, 3d prints, paste wax
2018
Stuff I made today ($#%& Show), 6th and 7th iteration of time constructed artwork, Charles Adam Studio Project 5&J Gallery, Curated by Hannah Dean and Christina Rees, Lubbock, TX, January.
CAT 2024
I can’t tell a lie 2022
collaboration with artists Jessica Lambert and Daniel Demitri 2023
Undergraduate Work
Domestic Death and Matrimony
Cloud Process
Exploding Typewriter
2016
