# 19 (Ferric Olive), 2026
Oil and volcanic stone dust on wood panel
24 × 25 in
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A narrow central rupture interrupts the dense green field, subtly displacing the repeated vertical structure around it. The darker ferric passage appears embedded within the surface itself, creating a sense of internal depth and material shift rather than pictorial space.
Volcanic stone dust mixed into the oil produces a compressed, mineral surface that moves between matte density and abrasion. Built through repeated drag and accumulation, the painting approaches the material logic of sediment or oxidized earth more than traditional paint handling.
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#sculpture#oilpainting#stonesculpture#carving
# 37 (Ferric Black)
oil and volcanic stone dust on wood panel
30 x 34 inch
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37 (Ferric Black) develops through processes of compression, accumulation, and abrasion rather than pictorial construction. Built from repeated applications of oil and volcanic stone dust, the surface is structured through dense horizontal strata that evoke geological folding, sedimentary pressure, and material displacement without resolving into representation.
The work operates through a tension between repetition and rupture. Rhythmic bands are repeatedly interrupted by shifts in density, fractures, and directional inconsistencies that destabilize the surface and prevent it from settling into a fixed formal order. Dark ferric passages absorb and compress light, while exposed reds remain embedded beneath the surface, suggesting latent heat, oxidation, and internal pressure retained within the structure of the painting itself.
Rather than functioning as landscape or abstraction in a conventional sense, the work engages painting as a site of material behavior. Scraping, drag, compression, and resistance remain physically legible within the surface, allowing the painting to register as a record of accumulated actions and geological-like transformation over time.
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#sculpture#oilpainting#stonesculpture#carving
# 6 (Burnt Red), 2026
Volcanic stone dust and oil on wood panel
18 × 23 in
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Built through compression, abrasion, and partial removal, the surface holds volcanic stone dust bound into oil as a dense, resistant field. The red is not applied as a layer but forced into the structure, held unevenly as the material is scraped, dragged, and broken.
Horizontal bands register shifts in pressure, interrupting continuity and establishing zones where the surface compacts or gives way. Darker passages emerge through abrasion, exposing underlying strata rather than accumulating on top.
The work suggests a field shaped by movement and compression, where layers accumulate, shift, and fracture over time. It resists description as a specific landscape, remaining instead a record of forces that act across it, holding the surface between cohesion and disintegration.
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#sculpture#oilpainting#stonesculpture#carving
# 32 (Iron Grey), 2026
Volcanic stone dust and oil on wood panel
Framed in recycled cedar ply, painted
12 × 14 inches
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The surface is formed through pressure, resistance, and repetition. Vertical striations register the movement of the hand as a continuous physical action rather than a compositional device.
Areas of exposure interrupt the field, revealing underlying material and shifting the balance between density and erosion. The grey retains a subtle cool bias toward blue, allowing tonal variation to emerge through abrasion and compression.
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#sculpture#oilpainting#stonesculpture#carving
# 25 (Verdigris) 2026
Oil and volcanic stone dust on wood panel
30x34 inch
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Constructed through successive phases of accumulation and excavation, this work operates as a stratified field rather than an image. Layers of oil bound with volcanic stone dust are repeatedly applied, compressed, and partially removed, producing a surface that records each intervention as a physical trace rather than a compositional decision. The resulting ridges and breaks register the translation of force through the hand, functioning as indices of process.
The chromatic field, anchored in verdigris, situates the work within a register of mineral transformation rather than painterly description. The green is neither stable nor uniform; it oscillates between surface deposit and embedded material condition. Subjacent ferric tones intermittently emerge through abrasion, not as accents but as exposures of an underlying layer, suggesting a continual negotiation between concealment and disclosure within the material itself.
Horizontal divisions structure the field without resolving it. These bands operate as provisional strata, organizing the surface while resisting fixed hierarchy or narrative sequence. Minor deviations, compressions, and displacements occur within and across these intervals, preventing the formation of a stable compositional system. The painting holds through constraint, not through resolution.
The panel can be understood as a closed material system in which addition and subtraction remain inseparable. Each act of removal redistributes rather than eliminates matter, and each accumulation carries the residue of prior states. The surface thus functions as a record of irreversible transformations, where material memory is retained as both structure and disruption.
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#oilpainting#sculpture#stonesculpture#carving
# 23 (ferric red)
Oil and volcanic stone dust on wood panel
24 x 25 in
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Built through repeated compression, drag, and removal, this surface holds the record of force rather than image. The ridged planes suggest cut strata, weathered metal, or exposed earth, where each pass alters what came before without fully erasing it.
Ferric red carries the logic of oxidation and mineral change. The work is less painted than formed, using oil and volcanic dust to build a surface that feels excavated, compacted, and unsettled at once.
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#sculpture#oilpainting#stonesculpture
#28 (Bleached Iron)
#31 (Dark Green Oxide)
oil and volcanic stone dust on wood panel
framed with recycle cedar plywood, painted
Each 16 x18 inch
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These works begin without a fixed image. Direction emerges through contact with the material, as mass is moved, interrupted, and forced into new relationships. What remains visible is less composition than consequence.
I’m interested in surfaces that feel formed rather than designed. Areas of order sit beside rupture, movement beside stillness, density beside exposure. The finished work holds a record of change while resisting any single reading.
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#stonesculpture#sculpture#oilpainting
# 38 (Ferric Orange)
Oil and volcanic stone dust on wood panel
16 × 15 in (framed)
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This small piece resists full compression. The surface builds and slips, holding areas of exposure rather than closing over them.
The darker passages move across the structure without fully embedding. They remain partial, unstable, and visible as interruption.
The work is not resolved into density. It remains in a state of formation.
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#stonesculpture#sculpture#oilpainting#stonedust
# 36 (ferric carbon)
Oil and volcanic stone dust on wood panel
30 × 34 in
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The surface is built through compression.
Material is carried, removed, and re-formed in a single action. Dark is not applied as contrast. It emerges from accumulation and drag, held within the structure rather than sitting on top.
The bands are not planned.
They form as the material resists and redirects the movement of the blade.Once they settle, they cannot be adjusted without collapsing the surface.
Volcanic stone dust introduces resistance.
It slows the paint, holds the mark, and fixes each movement as a record rather than a gesture. The work ends when it becomes independent of further decisions. At that point, additional action would only diminish it.
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#sculpture#oilpainting#stonesculpture#stone
# 30 (Oxide Red)
Oil and volcanic stone dust on wood panel
18 × 16 in
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The red operates as a mass rather than a color. It carries heat, density, and resistance, but is continually broken by shifts in pressure and exposed ground. These interruptions are not added details. They are points where the material fails and reveals what sits beneath.
Volcanic stone dust binds the surface to the same material logic as the sculpture. It thickens the paint, slows movement, and allows the surface to register each action as a physical event rather than an image.
The frame is constructed from recycled panel material, extending the same material cycle beyond the surface.
The result is not composed. It is built, stressed, and left before resolution.
# 27 (Ferric Red)
Oil and volcanic stone dust on wood panel
30 × 34 in
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This work settles into a state that feels inevitable but resists being named.
The surface holds a tension between compression and fracture. Horizontal bands accumulate, then break, resisting a stable structure. Edges lift, collapse, and shift, interrupting any fixed order.
Vertical striations record repeated contact with the tool. These marks are not expressive but physical, registering pressure, drag, and resistance. The surface reads as something worked against, rather than composed.
Volcanic stone dust thickens the paint, grounding the color and slowing its movement. The red emerges through layering and abrasion, moving between dense ferric tones and exposed underlayers.
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#stonesculpture#sculpture#oilpainting#stonecarving
#24 (Basalt Grey)
Oil and volcanic stone dust on wood panel
30x34 inch
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This work moves away from heat into a cooled, compressed state. The surface holds a dense grey, close to basalt, with traces of red remaining beneath. These are not contrasts but residues of earlier layers, partially obscured and held within the structure.
The surface is built through repeated scraping and pressure. Each pass compresses the material, producing a form that feels compact and grounded rather than open or expressive. The horizontal shifts follow the movement of the hand across the panel.
Volcanic stone dust is mixed into the paint, increasing weight and resistance. It slows the surface and allows it to hold under pressure, carrying forward the memory of each action.
The aim is density. The work reaches a point where it can hold itself without further intervention.
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