My latest work which is currently on exhibit at the MODA. Museum of Design Atlanta for the month of October. This is my latest series of 6. The Work consist of color matched, powder coated aluminum panels which are fit to a coated aluminum mounting plate. When assembled, all the panels are separated by an 1/8 of an inch. This small gap between all the panels releases the large form of its visual weight and allows the work to seem as a gathering of floating colors. SMPTE stands for the Society of Motion Picture and Television Engineers. This pattern of form and color, called the SMPTE test card in the television industry, was Designed as a tool for calibrate television broadcasting equipment. Now, nearly obsolete in this digital age it lives on in the memories of a a few generations of television viewers who all witnessed a time when late at night TV was over, finished until the morning. Today's newer generation of TV viewers may never have the the opportunity to develop a relationship with this playful pattern in this world or relentless advertisements and infomercials. But, with my latest series of SIX, the SMPTE test card will live on and hopefully remind us of that nostalgic memory of when "TV is over". 72" (183cm) high 96.5" (245cm) wide 1.25" (3cm) deep

This is an example of my one-off works. I created this form as individual, never produced again piece. This work was commissioned by one of my clients for their space. The engineering I put into my work is my means of achieving irreducible aesthetic and functioning form. The piece functions without the use of electrical wires because aluminum skeleton I designed to hold the borosilicate glass conducts the low volt current through itself to illuminate the bulbs. This was one of several methods used on this project to reduce the form to only necessary, needed elements to produce this aesthetic functioning form. The piece is 15 feet long, 7 feet wide, 5 feet high and weighs 50 pounds. (4.57m x 2.13m x 1.5m / 22.67kg)

The Ambassadors exhibit my reasoning and method behind selecting, shaping, and fastening materials I work with into functioning aesthetic form. My series-work is composed of six identical forms typically different in color. Producing six, tests my understanding of the process and materials used in crafting my work. Moreover, producing six is an exercise in working within the relationship of tolerances I assign to each part. The Ambassadors were created for locations within the United States and France. Because of this I used rare earth magnets and sliding fits as the primary fastening elements. This way I was able to overcome the Metric and Standard issues I once had with sending my work overseas. I benefited further with this method by creating a nearly tool free installation process that can be installed in under 5 minutes.

A progression in my work that enabled me to explore methods of fastening the blown glass to the conductive metal skeletal structure. I took time and care in the line work of this piece to create a form that exemplified one suggested motion, as if the piece was reaching forward. Also, this piece was designed without the use of electrical wires. The Phosphor bronze suspension rods channel two 12volt electrical currents into the forms skeletal body. This allows the form to function with two light switches. One switch to control the small bulbs at the end of the arms that illuminate the Blown Glass and another to illuminate the functional center flood lamps, which have been created to illuminate the the green color from the light. by eliminating the green spectrum from the center flood lamps it creates a light that enhances the tones found skin and food. by subtracting the green spectrum the dichroic housings reflect magenta, the opposite of green in the color spectrum. This is why the piece has magenta light in the center when the center lams are on. The challenges I had to overcome on this project eventually lead me to the irreducible sub-assemblies that I designed and incorporated into my latest work in this evolving series "The Sisters". Reaching was created in 2007.

I designed this furniture is to demonstrate my approach to creating a mass producible coffee table. The concept was conceived during the spring time in the year 2001. The form was finalized in October 2004. After six years of research and numerous prototypes I produced the first ramp up model and debut the table in the ICFF (international contemporary furniture fair) in New York April 2007. Since then it has served its clients well in their environment and will keep doing so for their generations to come. I believe sustainability is about utilizing the properties of a material to its fullest to create a form that will serve longer than a lifetime.

The Ladder is a symbol of life and work to me. It’s a tool used to achieve height and composed of straight lines. It is an elegant expression of the properties the square possesses. My Ladders are “fit” together. I use only the tension created in joining the materials together. This allows me to assemble the form without glue, screws, etc.. The fit is similar to how legos work and I used LED’s to illuminate the glass. I utilize and observe the properties of the Circle, Square, and Triangle in the world everyday. Working with the Ladders is a reminder of how unique and well defined the properties of those three shapes are.

lately this type of work is suspended by a thin wire so it moves freely as a mobile. To make the work sensitive to subtle air movement I construct the forms out of aircraft aluminum. During my experimentation in the studio I hung 3 mobiles in our 18 foot ceiling space. All three mobiles moved in different directions, freely, by only the rising air from the sunlit floor. The mobiles are designed to be sensitive to the smallest air movements.

I created this form as individual, never produced again piece. This work was commissioned by one of my clients for their space.

The beginning of a an organic expression of light, metal and glass. This work opened the door of possibility in a realm of balance and composition. The set of unique challenges I faced on this project led me to explore the possibilities of the materials I was currently working with at the time. Moreover, the properties of the materials I was not working with at the time. Many things have changed in this series of work but this was the beginning. When I compare the "Zitron" to "The Sisters" (the first to the latest) I can see how far I have traveled in my understanding of materials and process. It makes me look forward to the future.

A visual reaction to current events and sometimes just interesting conversation made tangible.

my depiction of plant growth using glass, light, and concrete.
ma représentation de la croissance de la plante en utilisant le verre, la lumière, et le béton.

I worked with director Eric Defino a music video for the band "The Constellations". Eric explained that he needed a light grid or pattern in the background of a scene in the video. this is what I came up with. I produced the effect needed on time and under budget.

this was my method of suspending glass around tube steel columns.