“We’re Only Human”

In “We’re Only Human” the artist explores the pressure, struggle and pain in a society that has left us increasingly powerless against vices and dependencies.
Can You Hear Me Now?

The Opioid Spoon

Wrought with emotion, The Opioid Spoon, which began as a 10 ft Monumental Steel sculpture, and has evolved into smaller Bronze and Nickel Plated Aluminium Editions, is at once deeply personal and highly public. They refer quite obviously to the Opioid Crisis which has and continues to decimate lives, families and communities across the United States and the World. It is a crisis which has touched countless lives, including those of the Artist’s family.

The work began with the performative action of ‘dropping’ 10.5 ft Steel sculptures outside the offices of key players in the crisis, notably Purdue Pharma as well as the Federal Food and Drug Administration (FDA).

Recently, a specially created piece travelled along the Eastern United States, stopping at more than a dozen locations where it acted as a blank canvas and could be signed in memory of those already lost to the opioid crisis.

The Bronze Edition, titled ‘Accountability’, bears a ‘stain’ that shines a light on the architects of the opioid crisis. The Nickel Plated Aluminium, entitled ‘Hope’ has had this stain removed, pointing to a future free from this hideous affliction.

The most recent of the Opioid Spoon Editions, created with Solid Cast Lead Crystal (at the highly regarded Studio of Corning Museum of Glass) is titled ‘Lucidity’. In this iteration, the work takes on a pensive clarity – where Elucidation and Opacity meet. It is highly symbolic of the deeply uncertain times in which we exist. It forms the perfect conclusion to a Trio of Editions which, when met, narrate a story of darkness and light, through the lens of a contemporary chiaroscuro.

100% of proceeds from any sales of the Spoon sculptures or editions benefit The Opioid Spoon Project, a 501(c)(3) non-profit

– The ‘Drops’
– Fabrication
– The Honor Tour
– The Accountability Editions
– The Hope Editions
– The Lucidity Editions

Public Art

In Outdoor Sculptures such as ‘Look at Me, Ma’ and ‘Strolling Scissors’, the artist exhibits a more playful, lighthearted side of his practice – both in terms of subject matter, and the use of materials, recalling the monumental outdoor work of figures like Keith Haring. In other such works, for example ‘Running from 2020’, this whimsy meshes with the darker sensibility of other work. It functions both as a humorous abstraction of the human form, as well as a commentary on a year of global horror from which we all wish to flee. Formally, too, the work takes on a somewhat more ‘serious’ tone – echoing the restraint of Minimal Art, and once again evincing the artists flexibility in approach, especially to media and form.
Look At Me, Ma
Running from 2020
Strolling Scissors

Earlier Works

Earlier works attest to the artist’s passion for working in metal.  Also evident is his animated and curious exploration of the multiplicity of techniques deployed. The works are conversant with a range of cultural and historical touchpoints.
Passion, Humility and Death
Torii Gates

Charcoal Studies

In his charcoal studies, the artist uses one of the most primitive forms of mark-making to explore concept and form. They can be both viewed as standalone artworks as well as exploratory works which feed into work in other media.
Charcoal Studies