Tampa Portal: A Dance  in Opposition and Concordance #17

(29"h.x 29"w. x 3"d.), wood, iron, acrylic, aluminum, enamel, 2010

Birmingham Portal: Working in Opposition and Concordance #20 (21.5"h.x 44"w. x 3"d.), wood, iron, acrylic, enamel, 2013

Tampa Portal: A Dance  in Opposition and Concordance #16  (29"h.x 29"w. x 3"d.), wood, iron, acrylic, aluminum, enamel, 2013

Birmingham Portal: Working in Opposition and Concordance #18 (24"h.x 24"w. x 3"d.), wood, iron, acrylic, enamel, 2012

Tampa Portal: A Dance  in Opposition and Concordance #14  (29"h.x 29"w. x 3"d.), wood, iron, acrylic, aluminum, enamel, 2010

Birmingham Portal: Working in Opposition and Concordance #7 (29"h.x 29"w. x 3"d.), wood, iron, acrylic, enamel, 2012

Birmingham Portal: Working in Opposition and Concordance #5 (29"h.x 29"w. x 3"d.), wood, iron, acrylic, enamel, 2012

sculpture

Birmingham Portal: Working in Opposition and Concordance #14, (24"h.x 24"w. x 3"d.), wood, iron, acrylic, enamel, 2012

Birmingham Portal: Working in Opposition and Concordance #17 (24"h.x 24"w. x 3"d.), wood, iron, acrylic, enamel, 2012

Tampa and Birmingham Portals
The titles, Tampa and Birmingham Portals,  derive in part, from the location where the works were cast. In both series I employ a bonded sand process for casting, which allows me to use actual materials, in this case cardboard an other consumable packaging materials, for my original models. I find the juxtaposition of the impermanence of cardboard and various packing tape with the permanence of bronze and iron both visual and conceptually intriguing. Both series are in continuance .