My interdisciplinary background encompasses architecture in addition to sculpture and digital design manufacturing. I began my secondary education in Syracuse University's School of Architecture, where I excelled at developing highly-characterized environments for programs ranging from museums to huge multi-family farming communities to space stations. I've always been interested in creating distinct physiological and psychological impressions on a human scale, as seen in projects such as a house with a huge, double-sided mirror cutting through its middle and a variable-gravity ramp designed for the living quarters of the ship from the film 2001: A Space Odyssey.
My greatest interest is for the future. I believe that digital manufacturing, or digifacturing for short, is the most direct route toward material progress in the world. 3D printers offer unprecedented opportunities for small-scale digital factories with relatively low overhead and material costs. The ability to prototype and produce a consumer product with virtually no waste is a tremendous step forward. It's not called "The Second Industrial Revolution" for nothing!
To that end, I have been running my own small-scale production company, Doublehead Digifacuring, here in Brooklyn since early 2016. We specialize in planters, sunglasses, and custom one-off production runs. Our clients have ranged from a Great Lakes fishing company to independent film studios.
Digifacturing is the heart and soul of my design practice. I am also currently beginning to incorporate it into my fine art practice.
I have enjoyed the most recent segment of my career as an architectural designer for a major high-end bowling company. In that capacity, I have been responsible for the end result of wall graphics and paint remodeling at over 20 locations nationwide. As the designer in charge of implementation for my projects, I integrate abstract renderings from architectural studios with actual site measurements to develop a final scheme. Once green-lit by corporate, my schemes get printed and installed directly. I work closely with people at all levels of the company as well as with contractors at the ground level, with excellent results.
In 2012, I spent a year as the artistic director for a small web-based record label of the Witch House genre, an avant-garde subculture possible only in the internet age. Its "visual aesthetic includes occult, witchcraft, shamanism, terror and horror-inspired artworks, collages and photographs as well as significant use of hidden messages and typographic elements such as Unicode symbols." [wikipedia]
Over the course of my role, I produced over 13 full album-jacket artworks that reflect the musical artists' ideas and intent. Like music they contain, these works are eclectic and sometimes bizarre.
Grasshopper, for McNeel Rhinoceros, is a plugin environment that enables parametric modeling through the use of visual programming and scripting. A cousin of traditional computer programming, this means that a 3D object is able to be programmed using input parameters, for instance height, shape, and thickness, instead of being modeled using manual techniques. Traditional techniques do not allow a user to go back and change an object once it is finished, so parametric modeling is an excellent technique for prototyping and 3D printing, where many iterations of a given object are developed and refined over time.
Grasshopper can also be used alone to produce visual art, a new branch of my practice.
The subtlety and magic of figure sculpture gives me great joy. There is nothing like representing the human body in terms of expressiveness and empathy. For me, creating excellent figures is a matter of emotion and understanding of aspects of a person's life. I seek to represent struggle, particularly the difficulties that people with lifelong disabilities face.
Learning figure sculpture has also had a practical side, allowing me to explore the mechanics of human anatomy in detail, as well as being a very challenging grounds on which to learn mold-making and casting.
Furniture design is an exciting way to bring spatial ideas to life. I have had occasion to do so at several points throughout my career, including a stint as simultaneous designer and CNC operator for a small fabrication shop specializing in customized design.
Furniture takes place at precisely my favorite scale to work in, engaging the entire body while also creating an encompassing visual experience.
In 2012, I was contacted by a person looking to create a semi-public sculpture garden on a large piece of beautiful land in Munsville, NY.
I created a site-specific scheme for seven monumental sculptures along with a complete design for a theatre space themed around the idea of a comforting yet alien environment and utilizing inexpensive materials such as plywood configured for maximum impact. Unfortunately, we couldn't secure funding for the project despite my efforts to make the pieces cost-effective.
These renderings stand as testament to what might be possible.
In 2016, Robert Voorheis, a mathematician friend of mine, came to me to consult on a math-art project he was starting, involving the concept of modular arithmetic.
He had discovered some curious patterns arising while mapping modular counting schemes to a grid and was making paintings based on those patterns. I encouraged him to explore a three-dimensional version of his patterns and when he figured out the math, they suddenly leaped off the canvas and revealed a complex tetrahedronal symmetry.
I set about creating a grasshopper definition for the project and soon we began 3D printing models of the bizarre geometries we were generating out of the universal mathematical ether.
My obsession with ceramics began back in high school, where the portfolio I developed became crucial to getting into the university of my choice. Eschewing traditional methods such as throwing on the wheel, I have always been interested in pushing the limits of the clay in order to create deceptive an unconventional sculpture.
Over the course of many years of practice, I have learned everything about the ceramic process from raw clay mixing through glaze mixing and finally various firing processes. It is one of my oldest and most treasured skills.
My sculpture practice has been wide-ranging across media and scale. I have worked in metal, plastic, mixed media, wood, fabric, and others and from small tabletop pieces to large-scale installation and permanent outdoor intervention.
My works often contain a political subtext, but abstraction remains a central component. Over time, I have shifted my practice more toward digital endeavors, yet physical projects hold a power and engagement that is undeniable.
I have been involved with many design-build and general fabrication projects. For the most part, the pieces in this section were not designed by me, but demonstrate my skills, experience, and commitment to craft. The large sculpture "Quaternion," by Alyson Shotz, resides in the Fourth Presbyterian Church in Chicago, IL. The mannequins were used in a Marc Jacobs New York Fashion Week show in 2014.
I love buildings things and possess a great many skills dedicated to the field of fabrication.
Graphic design has been an essential component of my practice for many years. I have created album covers, book jackets, posters, logos, shirt designs, web graphics, consulted on presenting an architectural project, and created many full-scale wall graphics in my current position.
I like to make bright, eye-catching designs with an emphasis on iconography and eclecticism.
I have maintained a diverse photographic practice for over a decade. Along with the practical aspect of being fluent with a camera, I enjoy the artistic and expressive qualities of photography, along with the unpredictable results that occur while engaging with the public in the realm of street photography. I have photographed streets all over the USA and Europe, most notably documenting the Occupy Wall Street movement in Manhattan, NY, Portland, OR, and Syracuse, NY.
In addition to raw street scenes, I enjoy staging particular photographic tableaux, using otherworldly lighting and multiple exposures to create digital portraits incorporating elements of painting, illustration, and collage.
In collaboration with small-scale game design studio QwertyMaster Productions, I am currently in the process of developing and personally producing the artwork and creative direction for a commissioned video game for an arcade in Michigan.
The Adventures of Mr. Soda Pop follows the story of a guy who likes to collect soda bottles and utilizes a neat twist on the traditional movement mechanics of a side-scrolling platformer game.