The Creative Process

Sequins, beads, styrofoam.

Bouldin Creek Cafe

Untitled, 2002

Fringed seed beads, heat-treated colored plexiglas mirror, steel armature Plexiglas mirror comes in about 15 great colors and is pliable when sufficiently heated. In this wall hanging, I've juxtaposed complimentary colors, contrasting forms, and modern vs. ancient materials.

The Secrets within White, 2001

Glazed ceramic, fringed beads A bloodletting of the no-longer-innocent color white.

Overflow #3 (Green), 2004

Glazed ceramic, fringed beads When Dr. Seuss goes deep-sea snorkeling, this is what he might see.

Fully on #3, 1999

Bead fringe, Brazilian Purple Heart, standard spigots Another view of how the world looks when you are fully on.

Fully on #1, 1994

Bead fringe, standard spigots and plaster over wood This is how the world begins to look when you are fully on. This piece is located at Chez Zee, Austin.

Enough, 1995

Raku This was my first raku piece. Its flowing undersea style became the basis for a much larger ferrocement sculpture for the Austin Green Classroom.

Flight of Death, 2002

Glazed ceramic When Death takes its leave, what is it that remains and lives on?

Anger and Grief, 1999

Seed bead fringe, stone, wood, fluorescent light and Plexiglas mirror Below much anger, especially in men, lies deep grief. Yet few of us grieve enough, and even fewer appreciate the considerable healing power of tears, or their ability to transform the blackness into gold.

Overflow #2 (Light blue), 1999

Glazed ceramic, fringed beads Icicles of glass flowing over a lavender blue ceramic flowform.

Overflow #1 (Dark blue), 1999

Glazed ceramic, fringed beads A miniature waterfall of rich, pure color cascading over a sculpted ceramic base of various deep blues.

Ascent/Descent, 2000

Glazed ceramic, fringed beads This interactive piece launched the Overflow series, with bead strands of changing colors falling over, under, around, and filtering through an organic ceramic base. In this one, the beads have apparently been poured into the top, to flow in rivulets out various voids in the ceramic form.

Dragon's Weak Scale, 1996

15in x 34in x 5in Appliqued seed beads on upholstered wood frame, stained glass, copper and brass. It is said that in order to slay a dragon, whether it be storybook, parental, corporate, societal, or political, you must first find its weak scale, or you are toast.