The felt objects are made with die-cut felt and music wires. The egg-shaped felt pieces are originally ukulele picks, favored for the smooth, rich sound that they enable. In these instances, the picks and music wires are woven into a different kind of codependency and dynamic that render them silent, but translatable as in a visual score for performance.  

The smock screen (smoke screen) is a play on a traditional embroidery technique that gives functional clothing stretch. The rhythmic distortion of nylon produces an optical moiré that seduces, disguises and obscures true intentions.

These pieces share the attribute of being elegantly collapsible (and portable). They are part of an exhibit entitled Kunstblatt at SG1 Kunstraum in Duisburg, Germany, running August 13 through September 10, 2018.

‘Auxetic’ in their genetic coding, Spores explore material and pattern at the intersection of order and indeterminacy. Debuted in the art action Klebewesen in 2014, fluorescent orange Spores celebrated the strangeness and beauty of diasporic populations in unexpected places throughout Duisburg, Germany. These wire-formed creatures later sported different claddings and colonized a 10 x 10 foot wall in Los Angeles in 2015.

Experiments in felt, wire, plaster, resin and bronze that explore rhythm through different means aggregation and cohesion. 

Produced under the f+b(p) label, these wearables extend the ethos of the studio’s contextual work: honest, responsible use of materials and expression of structure as an integral part of what is made. These pieces explore concurrent architectural themes such as ritual, figure-ground, unexpected geometries and transcendence. They were featured in LA Times, Dwell, Casa D and retailed at A+D Museum, UCLA Hammer Museum and design stores across the country. 

Ukulele Series of table textiles is inspired by the retrieved webbing of die-cut ukulele picks.

Stones is a quartet of coasters made from contrasting shades of industrial felt.

Lawn chair is a chaise of grass, an urban interpretation of sub-urbanity.

“(I)n America the lawn is more than essential.... it is precisely that landscape element which every American values most.” John B. Jackson, Ghosts at the Door, 1951 

The epidendron pod has inspired many of my explorations. What started as an origamic translation evolved into a form of geometric ‘clothing’ or packaging. The Space Needle supplants the pod in some photos when I discover that it shares a similar tripartite geometry.

This epidendron mutation is the first in a series of explorations into hybrid biomorphic forms.

Inspired by Alexander Graham Bell’s tetrahedral kite, "Colony" is an on-going investigation that introduces indeterminacy and adaptability to a stable, rigid structure. At different increments of scale, the structure becomes an armature for choreographic activation; or inter-connected pods, that, along with their interstitial spaces, accommodate inhabitation.