3000 BC Studios
Through the vehicle of stone, it is my mission to provoke a rapture of mystery, to search for the essence of truth, and to explore the ceaseless cycles of birth and death. Each piece is a biomorphic, monolithic capsule waiting to be unlocked, explored and assimilated. In doing so, I hope to make familiar the evolution of time and space.
Direct carving in a morphic, reactive manner allows the tale of the artistic journey – and the will of the stone – to have a voice alongside the form and the intent of the artist. This process results in a subtle, multidimensional, holistic style. These pieces use mass to attract attention and their complexity draws user in, to the story of their creation and ours. The participant is drawn into a tactile story, through a spatial journey, exercising one’s notion of scale and self.
I choose to rework sculptural standards, weaving them from collected strands of universal, aesthetic, philosophy and physical law. These borrowings from multiple, diverse worlds pay homage to the fabric of unity and ultimately leads to a point of reverence.
The Planetary Series are the wanderers of our solar system; the first is Molten Heart Venus 2. She is a two-part piece that incorporates not only the above techniques but also sound. The primary verticle is laminated basalt and italian onyx with a red marble heart, through which is amplified the sounds of Columbria’s Song. That chorus originates in a horizontal basalt water bench inspired by the Columbia River. Its lost watery echoes whisper directly from her heart, inspired by the scientific posit that Venus, our sister planet, had at one point an atmosphere, surface water, and theoretic life, but due to runaway greenhouse effects and cataclysmic heat, is laid barren, resurfaced in a massive basalt flow.
The Universal Family found its origins in 2000. I found a trove of inspiration in cosmology books and in the universal story matter of the birth of universe as it relates to the human narrative.
The matriarch, Our Lady of Singularity, was completed in 2002. She is the maddona that houses the singularity from which the universe sprung. Out of the dark, the first light to be is the mother of all. In her we see the relationship between light and dark, with a translucent onyx laminated between basalt plates. The basalt, creating a cavernous shadow box, records the kiss of time throughout the day as the onyx refracts and highlights the light giving a sense of luminescence, gas, and birth. This piece shared the jurors award with Kazutaka Uchida at the Lake Oswego Outdoor Arts Competition in 2005. The lamination techniques I pioneered for my sculptures that utilizes construction industry materials and standards found its voice in the matriarch and is integrated throughout the series and in most of my work. Each laminated layer is a symbolic dimension; their interaction a dance becoming whole only in the collective. The process working in a horizontal fashion, as necessitated by size, unfolds polished voids that speak in moods of both the epoch and personal.
The patriarch is Neutron Minotaur. In the Minoan tale of the minotaur and its story of enlightenment by killing beast in oneself the maze being life and in cross-referencing proto-sun formations early on in the universe. It was here in these massive early suns, thermonuclear reactions expanded and collapsed repeatedly, and in their death throes creating the seeds of life, our elements. The premise of this piece is that sacrifice, as in those suns and our lives, facilitates a higher form of life, in totality casting a sense of gravity and weight of responsibility. Utilizing the same technique as Our Lady of Singularity, the Neutron Minotaur stands at 7’ and is around a ton (2000-2500 lbs.) of dense basalt surrounding a supple layer of onyx/nebulae.
Spiral Galaxy M26 came into being as a collection of the star-stuff of the impetus and the seed. It is a representation of our Milky Way. A low profile piece of columnar basalt that hugs the ground, our galaxy is carved into the top surface, one meter across at its widest point (1:M26). It is in the draw of the water the Coriolis Effect parallels the supermassive black hole in the center of our galaxy; a ripple effect on the surface of the water provides an allegory for Einstein’s theory of relativity in the fabric of spacetime. A multilayered technique of micro-shocking the basalt surface and polishing those down creates layers of stellar depth in the diverse spattering of stars.