2010

A small-scale model of the UFO cast in solid opal acrylic, designed to be made into a full-size version large enough to fit multiple people at one time.

I spent about a year working on the production model for this sculpture. The model was formed with 500 pounds of clay using a giant turning machine that I designed and built from plywood. The clay was then modeled and cast in plaster, then reworked on the wall of Jeff’s studio for months. The final piece was cast in stainless steel with a polyurethane paint finish.

Cast resin - 2012

Yoko gave me only three weeks to make the majority of this massive pile of cast-plaster body parts. We had to call everyone we knew, get them naked and throw plaster on them. Needless to say, it was a lot of fun to make. Since we were making such a large volume of different castings using live models, we were able to try some rather large and complex poses. The piece was shown at Deitch Projects.

I designed the molding and production system to cast the 1800 +  geometric triangular resin spikes that make up this complex sculpture with Erik Cooper, for artist Norman Mooney. When arranged together over a convex dish, the resulting form  appears soft and organic.

This epic cube sculpture was made for Keith Tyson using a computer algorithm to create the structures. Each cube was hand-cut and finished before being strategically placed to form a 3-D structure. The logistics of making a physical object appear as computer animation were quite complex. The entire project had to be completed in only 5 weeks.

I created some extremely high-detail silicone molds to cast the arms and legs for this Tony Mattelli sculpture. The challenge was to build the production molds so that they would generate little or no seams or flashing to ensure that everything would look photo-realistic, even up close. The limbs had to be designed to register perfectly back into a rigid torso base with a hidden metal armature inside of it. The final Ultra-realistic painting is all done by Matelli himself.

We produced nine sets of Ghada’s Les Poufs. Each cube was  milled by hand using small routers. then hand-painted with a special lacquer enamel. When you rotate the cubes on the floor, 6 entirely different yet complete drawings can be constructed in different colors depicting various romantic images.

A solid opal acrylic scale model used as the basis for the larger sculptural project Tom Na H-iu (180.31 x 62.99 x 20.47 inches (4.58 x 1.6 x .52 meters)).

Cracked Egg was originally designed to be 8 feet tall, but once we finished making the first clay model, Jeff decided it was too big. The second version was resized to 7 feet high and cast directly in plaster. Jeff carefully drew the crack line and the final piece was cast in stainless steel with a polyurethane paint finish.

Moon was cast in one piece using 3-inch-thick opal acrylic.

I created the custom boxes for each of the 8 limited edition molded books deisgned by Ellen Gallagher and Edgar Cliejne for Gagosian Gallery (edition of 100 each - 800 total in the run). The cover of the each of the books have a unique molded silicone sculptural form on the front so the negative space and recessesed letters had to be designed to perfectly inverse and were cast in a soft, clear eurethane rubber.The books were produced by Studio Vincent de Rijke, Rotterdam

While I was working on the Moon Balloon I was also in charge of engineering the Bowl of Eggs. I reused the clay armature from Moon and reworked it to suit the inside shape of the bowl. Then I poured plaster directly onto the clay and built a structural framework within the bowl. A mixture of foam peanuts and plaster was used as filler material and the outside of the bowl was treated with a direct plaster/joint compound mix. We popped the bowl off the clay and flipped it over to finish it. The final piece was cast in rotationally molded polyethylene.

This electronic artwork was designed and fabricated for the 50th-anniversary celebration of the Guggenheim Museum based on drawings by artist Peter Coffin. Each piano note in the musical scale corresponds to a different light wavelength that is illuminated in the acrylic piano body using LED lights and analog electronic sounds. Thanks to Guy Marsden and Art-Tec LLC for their production work on the electronic circuitry and components.

For Hanging Heart, Jeff wanted the piece to be perfectly symmetrical, so we cast the heart in two halves on an adjustable table that we designed in order to keep sculpture completely level. One mould was made and the two identical halves were fused together and finished in stainless steel.

Sun Stone was cast in one solid piece with opal acrylic, pushing the limits of a solid-cast acrylic object.

These large frames are cast in solid translucent opal acrylic and polished. Special hardware was required to mount the photos onto the frame backing and keep them from being visible through the frame from the front.

This is the less complex version of Cube Automata.

This screen was made for Ghada using laser-cut acrylic parts that fit together like a puzzle. A perfectly level table was built on which we poured crystal-clear epoxy into frames that were only a quarter-inch thick. An extremely tricky job.

Mariko wanted a very special book-container design, one that looks like a large and smooth translucent stone but splits in two halves to reveal a book of her drawings.

These are the production models for a light sculpture that was later engineered in Japan.

This sculpture is made up of several stone forms which were cast in multiples. The final pieces are made out of glazed porcelain.

This tabletop container is meant to hold Mariko’s drawings. To switch the drawing, simply open the lid on the top.

I took on Diamond midway through its production, as it had been started by someone else. The geometry was so complex that getting it to meet Jeff’s standards of perfection was extremely challenging and required a lot of reworking.

I spent some time working on the finish of Wrapped Egg. Each fold and crease was hand-sculpted using resin before the entire piece was cast in stainless steel.

Sculpted using Vanessa Beecroft’s designs and photos for the VH1/Vogue Fashion Awards in 2002.

We have restored the white finish on a number of Sol LeWitt’s minimalist cube sculptures for the Pace Wildenstein gallery

This model was made for a print advertisement. It was hand-milled out of photo-etched magnesium and polished.

Sculpted to resemble Michelangelo’s David as though the artist were only halfway through the carving process...

This was made as a set piece in 4 days for a photo shoot of Conan O’Brien by photographer Mark Seliger. The interior is hollow to allow Conan to fit inside with only his head appearing from out the top.

Game Table was created to display an original board game designed by Ted Lawson and James Scott.

These perfume-bottle prototypes, created for Estée Lauder, were milled out of acrylic and brass, then polished by hand.

This model was fabricated for a US Air print-ad campaign. It was hand-milled out of solid aluminum parts.

Prototype New York and Big Room LLC collaborated on the design and fabrication of this working sling-and-ball game. Originally intended for use in a print advertisement for Hugo Boss, it was also considered for a limited-production run as a functional sporting toy.