Sculpture Gallery
I’m a musician and sculptor based in Portland, Oregon. For most of my life, I’ve had to balance my passions between making music and creating sculpture. When I'm not on tour playing music in theaters and folk clubs, I can be found in my sculpture studio with my hands in wet clay digging deep.
The number one inspiration for my art is the natural world. I thrive on exploring ways to evoke emotion using form and texture. My work is driven by the tension between survival and surrender, something we all balance as part of this wildly changing planet. I begin with imagining a creature differently in order to capture the duality of what is fierce and fragile in the form.
My physical process starts with either a lump of clay or a bamboo lattice-work form that I coat with slip and fire in the kiln. I occasionally use traditional glazes, but most of my pieces are surfaced with a tough, resin and plaster-based, non-fired coating that is combined with metal powders. The finish cures and oxidizes to provide an appearance of aged bronze or distressed iron. This is an intuitive process that taps into the improvisation and exploration I’ve developed as a musician. I feel my willingness to take chances has led to new forms and techniques that are not easily recognized as ceramic, but often mistaken as metalwork or wood carvings. When it comes to both art and music, I’ve always believed that taking risks is a conduit beyond the obvious - to express something with deeper resonance and profound honesty.
Beautiful and bold, hallowed and hollowed. Oh what have we done!
Ceramic, metal coating (Forton, Iron, copper)
2022 (contact Tony for price)
ceramic, metal coating 2021
This ceramic stylized Orca is part of a larger exhibit called “The Whale in the Room” which explores the impact of mankind on the natural world.
In creating this Orca series, I use their form as a mantra that I repeat with structural variations and textural patterns to elicit a sense of disappearing, dissolution and discorporation.
With Subsidence, I wanted to explore a way to evoke implosion. The end result is stylized, segmented, and perhaps evocative of a symbolism that isn’t actually rooted in any tradition.
17”x15”x11”
Ceramic, metallic coating, steel base
Bill the Otter was created with stoneware clay and fired once - then coated with a mixture of acrylic/gypsum/polymer resin (Forton) and metal dust, then cured, oxidized, and finished with a coat of sculpture wax.It sits on a steel base. This sculpture actually sits at 25" in tall including the base
This was a commissioned piece made as an urn to carry the sacred ashes of the clients parents!
Pig Urn- 2020
Ceramic, metallic coating (gypsum, polymer, metal dust)
Vitality (Transient Orca) - 2020
Ceramic, metallic coating (gypsum, polymer, metal dust)
Part of a series I’m creating in response to the struggles of Orca Whales, specifically the “Southern Residents” up here in the Northwest
Relic - 2020
Ceramic, metallic coating (gypsum, polymer, metal dust)
Part of a series Im creating in response to the struggles of Orca Whales, specifically the “Southern Residents” up here in the Northwest
Fractures (Southern Resident)
Ceramic, metallic coating (gypsum, polymer, metal dust)
Part of a series Im creating in response to the struggles of Orca Whales, specifically the “Southern Residents” up here in the Northwest
Fortress - 2019
Part of a series inspired by humankind dependence on and impact upon the natural world. This piece was constructed using organic and inorganic materials with most of the organics (cheese cloth and bamboo) burned off in the kiln, leaving a warped,distressed figure and weathered oxidized surface.
The stars from the TV show “Bones” sipping from Tony’s “skull mugs” at the end of an episode that was first aired in November 2012.
the Mother - 2014
Dimensions: 36" x 17" x 17"
Ceramic, gypsum, wire, paper, acrylic, metallic coating
Mother is survival and surrender, a co-dependent relationship with the natural world.