Lithic Engine

I think of this sculpture as a slow, tectonic grinding between what is grown and what is manufactured. The serpentine at the base acts as a heavy, green anchor that eventually splits into the pale, crystalline light of the blue calcite. The pulse at the center is a rusted gear claimed by the stone, though I’m unsure if the machine is driving the figure or if the earth is simply consuming the evidence of an old industry. In the dark form that rises above, I was looking for a shadow that refuses to settle, a spirit in the act of either being born from the rock or slowly being reclaimed by it.

Detail

Reverse View

Detail

False Center

Here, the torso is a site of substitution, a fossilized form rather than a living body. In place of a biological heart and organs, a dense mineral core of pyrite, quartz, and amethyst occupies the body’s interior, introducing materials shaped by pressure and duration. The body’s internal structure is no longer organized around circulation or emotion, but around stability and resistance. It resists full access or narrative resolution; the interior does not perform or transform, but remains inert and complete. By substituting geological matter for organic function, the work presents a figure structured to withstand rather than to express, disrupting expectations of anatomy, sentiment, and living form.

Residual Form

This sculpture stages an encounter between endurance and transience. A translucent wolf skull emerges from a stratified, mineral-like formation, its upward posture suggesting invocation rather than dominance. Cast in epoxy resin and embedded among crystalline growths, the skull hovers between fossil and apparition, neither fully natural nor entirely synthetic. A small butterfly rests within the formation, introducing a fragile, temporal presence against the inertia of geological mass, destabilizing any simple reading of power or permanence. Together, these elements propose a moment of suspension and a condition in which growth, erosion, memory, and transformation occur simultaneously, and where no element exists in isolation.

The Holding

20” x 11” x 8”, epoxy resin, mixed media, quartz.

This sculpture is similar to Interbeing but smaller scale, feminine form, and psychologically quieter.

It is a point of suspension where faces repeat without alignment, held close within a compressed form that resists outward declaration. Hands hover and support rather than reveal, suggesting a pause where orientation is felt but not enacted.

Rather than marking an arrival, the work occupies an interior crossing: a condition of containment in which multiple directions remain possible. What is held here is not resolved.

This was the final artwork I completed in 2025, just before we crossed into the new year.