CARIBBEAN GUITAR

Combine painting-acrylic, mixed media, affixed checkered grip, and .925 sterling silver on canvas
36 x 24 in. (91.4 x 61 cm)

Caribbean Guitar, a cubism take on interlocking planes with an avant-garde approach, unifies the motifs of music, accuracy, and craftsmanship. Alluding to the exactitude required of gunsmithing, and to luthier both objects depicted, it plays on the theme of sound and timbre. With the inherent association of music to unification, it alludes to the form and function of the long barrel assisting in the reduction of muzzle flash conjoined with the guitars produced delicate timbre. Sterling silver used to represent the position markers along the fret board function to aggrandize the theme of craftsman ship collating the individual aspects into a collective composition.

RIBBON REVOLVER

Combine painting-acrylic, mixed media, affixed grip and .925 sterling silver on canvas
28 x 24 in. (71.1 x 60.9 cm)

Utilizing powerful primary saturated hues, Ribbon Revolver displays both organic beauty and the human condition.  The surrounding ribbon-like gestures of pink, loosely applied and almost calligraphic, disrupt the rigid geometry with a sense of fluidity. The central figure, rendered in silhouette, resists specificity, becoming less an instrument and more an archetype, a stand-in for authority, fear, or autonomy depending on the viewer’s disposition. This tension between control and spontaneity invites a reading beyond the literal, positioning the revolver not merely as an object, but as a symbolic axis around which themes of power, consequence, and perception.

AFRICAN SPEAR TIP
Robert Phaneuf

Combine painting-acrylic and mixed media, displaying an affixed primitive hunting spear.
30 x 24 in. (76.2 x 60.9 cm)

Positioned along a central axis within the composition, bordered by two thin, red converging lines that frame it symmetrically. The surrounding quadrilateral planes: green to the left, black to the right, and a light-toned central bands serve to reference the Pan-African color triad, most commonly associated wit Kenya’s Kitui County’s flag. This chromatic structure provides a contextual backdrop without interrupting the object’s prominence, instead reinforcing a cultural and geographic association .

GET A GRIP

Acrylic and mixed media on canvas, with .925 sterling silver and a solid wood grip.
28 x 22 in. (71.1 x 55.9 cm)

In Get a Grip, the visual language of geometric abstraction fuses with the charged presence of a central wooden grip, and speckled sterling silver. Radiating bands and fractured planes of saturated color—yellows, blues, and greens—intersect across the canvas in a dynamic, angular network, creating a sense of tension, motion, and structural imbalance. These intersecting lines function as both compositional scaffolding and directional force, converging toward the center where the work’s focal element resides.

THE TEXAN

Combine painting—acrylic with superimposed mixed media elements and .38 Special Casings
30 x 24 in. (76.2 x 60.9 cm)

Encased within a saturated blue frame and set against a warm, expansive orange ground marked by faint linear divisions, the work creates a striking chromatic tension. The outer field evokes structure, almost architectural or cartographic, while the inner panel functions as a contained space, a site of focus and preservation. This layered construction Also observed, four .38 special casings hold the sculpture to the canvas. This reinforces the idea of separation: object from context, symbol from function.

1874 FRENCH BAYONET

Combine painting-acrylic and mixed media with authentic 1874 French Bayonet.
36 x 24 in. (91.4 x 60.9 cm)

A reflective composition, while appearing direct, serves as a tribute to those who lost their lives in war. The Manufacture d'Armes de Saint-Étienne 1874 bayonet is a French sword bayonet designed for the 11mm Fusil Gras Modèle 1874 rifle. Featuring a distinctive 20.5-inch T-back blade, brass hilt, and hooked quillon, these were produced at state arsenals (Saint-Étienne) from the mid-1870s to the 1880s.  

IN SIGHT

Acrylic and mixed media on canvas with mounted sculpture
36 x 24 in. (91.4 x 60.9 cm)

The dominant yellow ground introduces associations with sunlight, heat, cautionary signage, and mid-century graphic design, while the deep red divisions intensify the sensation of movement and directional force. Together, these contrasting fields create an atmosphere that feels both optimistic and confrontational, balancing warmth with tension. The simplified geometry recalls Constructivist design, futurist visual language, and architectural drafting, allowing the composition to function almost like an emblem or signal.

POCKET CAMERA

Acrylic and mixed media on canvas with mounted sculpture.
24 x 18 in. (60.9 x 45.7 cm)

Pocket Camera explores the intersection of surveillance, memory, violence, and technological nostalgia through the fusion of sculptural assemblage and minimalist geometric abstraction. At the center of the composition, a revolver and vintage pocket-sized camera are physically merged into a single hybrid object, transforming two distinct mechanisms — one associated with documentation and the other with force — into a unified symbolic form.

WATCH OUT

Acrylic and mixed media on glass on canvas, .38 Special Casings, and incorporating aspects of horology and sculpture cohesively 
30 x 10 in. (76.2 x 25.4 cm)

Through its integration of found mechanical elements and symbolic construction, Watch Out examines themes of time, awareness, and technological identity. The piece transforms disassembled objects into a singular visual entity that feels both playful and unsettling — a mechanical apparition assembled from the remnants of precision instruments, quietly observing the viewer from behind its fabricated gaze.

AIM TO PLEASE

Combine painting-acrylic and mixed media with repurposed  .925 sterling silver
30 x 24 in. (76.2 x 60.9 cm)

This take on a western revolver vector, styled in a surrealistic depiction, the revolver here is intentionally abstracted. Black linear elements traverse the canvas at varying angles, dividing the space into irregular geometric sections. With slightly exaggerated proportions represented almost directly as an icon or emblem than a specific, identifiable model, Aim To Please speaks on the act of “aiming”. Extending beyond the literal and into decision-making and control, the fractured geometry surrounding the central form reinforces the theme of focus amid distraction.

SPOT OF SILVER

Combine painting-acrylic and mixed media utilizing .925 sterling silver
30 x 24 in. (76.2 x 60.9 cm)

Cool, airy tones dominate the ground, with soft blues and mint greens creating an open, almost atmospheric field. These are punctuated by sharper intrusions of saturated color—deep reds, bright yellows, and darker blues—that interrupt the calm and redirect the eye. Hidden within the painting an entity  can be deciphered. The balance between these hues creates a push-and-pull effect, where no single area holds dominance for long.

BLACK ORBIT

Combine painting-acrylic and mixed media utilizing .925 sterling silver
28 x 24 in. (50.8 x 60.9 cm)

Black Orbit centers on a volatile convergence of motion, force, and gravitational pull. A radiant, spherical form—constructed from a dense lattice of repeating triangular geometry—glows at the core of the composition. Its surface pulses with high-contrast reds and yellows, creating a sense of internal heat and rotational energy, as though the sphere itself is both object and engine. Radiating outward, sharp black vectors fracture the space, cutting across the canvas like accelerated trajectories or collapsing sightlines. These directional forms disrupt the sphere’s symmetry, suggesting impact, orbit, or containment—forces acting upon and against the central mass. The layered perspective resists stability; instead of a single viewpoint, the composition splinters into multiple axes of motion, evoking both expansion and compression simultaneously.

Combine painting-acrylic with raised texture with .925 sterling silver superimposed alluding to objects

Inspector Cousterling is an allegorical abstraction of hidden entities. Allowing to be interpreted in a deeper approach, one can attempt to bring to light the hidden figures, obstructed within the piece. As referenced in the title it can be observed the subtle resemblance to the notorious character Inspector Cousteau displayed in the upper right. Displayed initially as an abstract shape, the green form centered in the composition can be appreciated as an uncanny portrayal of an outstretched hand. The hands pointing gesture is reinforced by the .925 sterling silver representation of a ring and fingernail. Other forms within the piece disguise faces and figures, hidden within the delineated forms portrayed. 

BROWN BESS BAYONET

Combine painting-acrylic and mixed media with mounted historical bayonet
28 x 22 in. (71.1 x 55.9 cm)

The object depicted is a Brown Bess bayonet, historically associated with the British Army’s “Brown Bess” musket, widely used from the early 18th through the early 19th century, including during the American Revolutionary War and the Napoleonic Wars. As a utilitarian extension of the firearm, the bayonet transformed ranged weaponry into close-combat instruments, symbolizing a shift between distance and immediacy in warfare. Its elongated, triangular form was engineered for durability and penetration, and has since become an emblem of both military standardization and the brutal intimacy of hand-to-hand combat.

DISCHARGE

Acrylic and mixed media on canvas, incorporating resin, and .38 Special casings.
30 x 24 in. (76.2 x 61 cm)

Adjacent to the firearm, partially embedded within the same sealed field, a recognizable credit card fragment becomes an essential counterpoint. This inclusion reframes the act of “discharge” beyond its ballistic implication, extending it into the realm of financial transaction—suggesting expenditure, release, and the instantaneous transfer of value. Also observed, four .38 Special casings hold the sculpture to the canvas. The work subtly equates the pull of a trigger with the swipe of a card, implicating systems of consumption within cycles of force and consequence.

YOUR NUMBERS UP

Combine painting—acrylic with superimposed mixed media elements, and .38 Special Casings.
24 x 24 in. (60.9 x 60.9 cm)

The structure suggests the fragmented anatomy of a firearm; yet upon closer inspection, its articulated components and jointed extensions begin to resemble a human figure—arms bent, body angled, as if caught mid-motion or suspended in a moment of mechanical choreography. Also observed, four .38 Special casings hold the sculpture to the canvas. This ambiguity between weapon and body collapses distinctions between tool and user, implicating both within the same constructed form. Surrounding the central figure is a constellation of numbers scattered, overlapping, and partially obscured alluding to systems of counting, indexing, and chance.

SIX GUNS

Combine painting—acrylic with superimposed mixed media elements
28 x 22 in. (71.1 x 55.8 cm)\

Intersecting bands of dark, almost infrastructural lines divide the canvas, overlaid with erratic white linear gestures that evoke tension, fragmentation, or even circuitry. These crossings disrupt the grid’s stability, introducing a sense of collision—between order and chaos, repetition and rupture. The guns themselves, though static, become participants in this tension, caught within a system that both contains and destabilizes them.

POP GUN

Acrylic and mixed media on canvas, incorporating resin, and embedded objects and .38 Special Casings.
24 x 18 in. (60.9 x 45.7 cm)

The juxtaposition between the softened firearm image and the intimate object of the pouch creates a tension between protection and vulnerability. Mounted using .38 Special casings, the work suggests the complex realities surrounding safety, autonomy, and self-preservation, particularly as they relate to women’s lived experiences. The handgun becomes less an object of force and more an emblem of concealed reassurance, fear, or necessity — something simultaneously hidden and emotionally charged.

CONCEALED KERRY 

Acrylic and mixed media on canvas, incorporating resin and .38 Special Casings.
30 x 24 in. (76.2 x 61 cm)

Through its fusion of hieroglyphic aesthetics, geometric abstraction, and symbolic figuration, Concealed Kerry exists between artifact and apparition, balancing modern cultural tension with the timeless visual language of myth, ritual, and encoded identity. The elongated central form recalls the visual structure of ancient Egyptian hieroglyphics or ceremonial relief carvings, being held up by .38 special casings. Suspended beneath a translucent surface and framed by rigid geometric borders, the figure appears artifact-like — as though excavated from an imagined archaeological context. This presentation transforms the subject from a contemporary object into something symbolic and timeless, suggesting the way societies encode power, identity, gender, and violence into visual language across generations.

REEL GUN

Acrylic and mixed media on canvas with .925 sterling silver and affixed grip.
30 x 30 in. (76.2 x 76.2 cm)

Reel Gun is a constructivism styled piece using a dabbing technique over opaque polygons to give the illusion of texture. Focalized within the composition, a turn of the century film reel projector firearm can be observed. The piece uses representations and the combination of two mechanical devices, contrasting in their functions, to display the theme of the emotional power of cinematic media. Themes such of stereotypes, control and corruption are included, strengthening the overall message.  .925 sterling silver inserted within the screw holes of the grip represent the slotted screws used in the assembly of firearms.

BOOTLEGGERS POINT

Combine painting-acrylic and mixed media with elements of pop art; mounted through canvas to frame using .38 Special Casings as rivets..
36 x 24 in. (91.4 x 60.9 cm)

TEXAS TURNPIKE

Acrylic and mixed media on canvas.
36 x 24 in. (91.4 x 60.9 cm)

Symbolizing the expansive, iconic roadway systems of Texas, the composition itself mirrors the sensation of navigating sprawling interchanges and endless open routes. Long linear bands cut through the canvas like highways seen from above, while the outward-facing revolvers resemble compass points, signage, or mechanical emblems embedded within the landscape. Rather than functioning solely as depictions of firearms, the outlined forms become symbolic representations of frontier mythology and the enduring iconography of Texas.

ISLAND MUSIC

Acrylic and mixed media on canvas with .925 sterling silver and affixed grip.
36 x 24 in. (91.4 x 60.9 cm)

Island Music fuses geometric abstraction with musical symbolism, transforming the familiar form of a guitar into a fragmented visual rhythm of color, movement, and spatial tension. Deep crimson, black, and luminous tropical greens intersect throughout the composition, creating a sense of syncopation and movement reminiscent of layered musical arrangements or shifting soundwaves. The work’s vivid palette draws direct associations with tropical island environments: turquoise ocean water, saturated sunsets, dense foliage, and neon reflections found in coastal nightlife.

REVOLUTIONARY WAR BAYONETS

Combine painting-acrylic and mixed media with a mounted pair of American socket bayonets (circa 1776).
30 x 24 in. (76.2 x 61 cm)

American socket bayonets friction fit over the barrel of the rifle. Many of them fit civilian hunting guns which were repurposed for military use. Hand forged during the period of the Revolutionary War, blacksmiths risked "committing treason” during the time they were making them. A rare find, these bayonets are of museum quality. These weapons were integral in the history of our country’s founding (Revolutionary War).

ISOSCELES MASS VALUATION

Combine painting-acrylic, mixed media, and .925 sterling silver on canvas
36 x 24 in. (91.4 x 61 cm)

Isosceles Mass Valuation is an amalgamation of trigonometric isosceles triangles and varied other polygons, as well as UFO saucer discs of .925 sterling silver. Converging perspective lines use a loose approach to the traditional practice of point of view beyond a traditional horizon or vanishing point. Warm saturated hues and values function to strengthen and accentuate the eyes gravitation to both the reflective .925 sterling, as well as the focal horizon point. The piece gives a strongly ethereal feeling to the viewer and insinuates an unearthly, celestial setting. Abstract phonetic-like forms, positioned in a triangulation add to the use of isosceles triangles while further reinforcing the converging perspective lines to a further raised, untraditional vanishing point. 

CONTEMPORARY COWBOY

Combine painting-acrylic and mixed media-superimposed pistol grip.
30 x 24 in. (76.2 x 60.9 cm)

Combining a multitude of techniques oriented in a horizontal plane, Contemporary Cowboy speaks on the provisional tastes in American design. Strong, textured converging lines with sharp vertices and vibrant hues strongly contrast with metallic, homogenous base. Highlighting the lightest lights, and darkest darks, bold use of vanta-black hued quadrilaterals portray the uncertainty and seemingly intentional dismissal of design as trends change. Perspective lines, overlapping chaotically are this loss and reemergence of old design and tradition as it is ‘recycled’. Recognized as a quintessential American motif, the Western pistol, displayed as a vector in the center of this chaotic emulsion lurks as a shadow. The display of the pistol as a loose, but discernible form reinforces the universal truth of this theme, often going unnoticed in its rapid cycle.

CARRY DECO

Combine painting-acrylic and mixed media utilizing .925 sterling silver and superimposed  pistol grip
24 x 24 in. (60.9 × 60.9 cm)

With the centenary of the Parisian-influenced, rapidly adopted art deco style of the 1920s-1930s, Carry Deco, the style of .380 cal concealed weapon peaked popularity in the Art Deco era. .925 sterling silver discs used as screws that fasten the grip to the pistol visually reference to the bold use of precious materials and elevated craftsmanship innate to the emergence of this style. Collinear points formed by the bold vectors at their right angles allude to the influence of cubism on the zigzag moderne, the earliest form of Art Deco. The emulation of bronze doré for the backdrop, while interpretable as simply being cohesive to Art Deco, speaks to the dissolution of Art Nouveau. This simulated ormolu, ensconces the dialectic of the causal of shift from Art Deco to Streamline Modern.

CATTLE DRIVE
Robert Phaneuf

Combine painting-acrylic and mixed media utilizing .925 sterling silver
24 x 24 in. (60.9 x 60.9 cm)

At the focal point, a simplified, mask-like form emerges. It reads somewhere between mechanical and symbolic: horn-like extensions arc outward, while a central vertical axis bisects the figure with near-surgical precision. This symmetry is intentional but not sterile—the hand-rendered quality keeps it from feeling overly calculated. A thin red line cuts across the upper portion, suggesting interruption or containment, while a single downward drip introduces a subtle sense of gravity and consequence.

OLD FRIEND

Combine painting-acrylic and mixed media utilizing affixed knife and consumerism reference.
24 x 20 in. (60.9 x 50.8 cm)

Old Friend is a study in tension—between control and chaos, structure and instinct. At the center, a silhouetted pistol form—reduced, flattened, and nearly anonymized—interrupts the geometry. Its presence is neither fully integrated nor entirely separate; instead, it hovers within the composition, outlined with a subtle halo that separates it from the surrounding plane. The grip, rendered with tactile realism, becomes the focal anchor—contrasting the otherwise flattened, graphic language of the piece.

FOCUS

Combine painting-acrylic, and mixed media on canvas
36 x 20 in. (91.4 x 50.8 cm)

The title Focus becomes both directive and paradox. While the composition clearly guides the viewer’s attention inward, it also resists singular interpretation, dispersing meaning across layers of movement, structure, and interruption. At the core, a subtle focal nexus emerges—not as a single object, but as a convergence of tension. The eye is drawn to this central intersection, where the structured geometry and expressive marks collide most intensely. Rather than clarifying the composition, this focal point amplifies its complexity, emphasizing the difficulty of isolating a single point of meaning within a dense field of information.

PISTOL POWER

Combine painting-acrylic and mixed media utilizing .925 sterling silver.
28 x 24 in. (50.8 x 60.9 cm)

Pistol Power is constructed through a collision of rigid geometry and layered painterly surface, where controlled structure meets moments of abrasion and release. The composition is anchored by a central spherical form built from a dense repetition of triangular units, creating a patterned volume that feels both mathematical and optical. This sphere operates as a gravitational core, holding the surrounding elements in tension while simultaneously suggesting motion, as if it’s radiating energy outward.

AUTOMATIC STILETTO

Combine painting-acrylic and mixed media utilizing affixed knife and consumerism reference.
24 x 24 in. (60.9 x 60.9 cm)

Incorporating a modern switchblade knife affixed directly to the painted surface, Automatic Stiletto functions as both a physical object and compositional anchor. Positioned horizontally across the lower portion of the composition, the knife is set against a field of sharply divided geometric color planes. The use of yellow dominating the central ground, intersected by red, blue, green, and black shapes outlined in bold black lines create a dynamic backdrop that emphasizes the clean, linear precision of the knife. The object is presented in a direct, almost catalog-like manner, allowing attention to rest on its form, material, and construction while remaining integrated within the broader visual structure of the painting.

PULL

Combine painting-acrylic and mixed media utilizing .925 sterling silver
30 x 22 in. (76.2 x 55.8 cm)

This piece builds itself around a fractured geometry of repeated triangular forms, loosely echoing an isosceles framework while resisting strict mathematical order. Thin, hand-drawn lines radiate and converge across the surface, creating a sense of tension between structure and spontaneity. Rather than resolving into a single fixed vanishing point, the perspective feels suspended, pulled inward toward a central seam that acts more like a rupture than a horizon. At the core, darker gestural forms emerge ambiguous, almost mechanical or skeletal in appearance. They read as both constructed and eroded, as if partially revealed through abrasion or time. These central marks anchor the composition while also disrupting it, pushing against the surrounding symmetry.

SPOT OF SILVER

Combine painting-acrylic and mixed media utilizing .925 sterling silver
30 x 24 in. (76.2 x 60.9 cm)

Spot of Silver unfolds as a layered construction of intersecting planes and directional lines, where movement and structure coexist in a state of quiet tension. Angular forms—rendered in saturated reds, greens, yellows, and cool blues—cut across a soft, atmospheric ground, creating a composition that feels both architectural and fluid. The geometry suggests a fragmented spatial system, with shifting perspectives that refuse to settle into a single fixed orientation.

MEXICARRY

Combine painting-acrylic and mixed media utilizing .925 sterling silver, and affixed embellished grip
30 x 24 in. (76.2 x 60.9 cm)

Positioned toward the lower portion of the composition, a stylized pistol form appears in reduced scale, rendered with a combination of painted and material elements. Its placement, removed from the central axis, shifts its role from dominant subject to a quieter, anchoring presence within the broader system of forms. Rather than commanding attention, it operates as a point of reference within the composition’s larger structural rhythm.

1873 FRENCH BAYONET

Combine painting-acrylic and mixed media with an authentic engraved 1873 French Bayonet
36 x 12 in. (91.4 x 30.5 cm)

Serving as a tribute to those who lost their lives in war, a mounted 19th-century French yataghan bayonet bisects the composition with a quiet authority, its curved steel blade suspended across a stark horizontal band of matte black. The weapon—an object of precision, ritual, and violence—is rendered not as an instrument in motion, but as an artifact held in stasis, elevated and isolated from its original context.

GOT YOU COVERED

Combine painting—acrylic with superimposed mixed media elements and six .38 Special Casings.
36 x 24 in. (91.4 x 60.9 cm)

Got You Covered presents a restrained yet materially complex diptych in which two ghosted firearm forms emerge from layered, translucent grounds. The upper panel, supported by the six .38 Special casings, reveals a diffused handgun silhouette embedded within a warm, mottled field of reds and yellows, its edges softened to the point of near dissolution. Below, a second firearm appears more legible against a deep blue ground, though still partially obscured—its form slipping between presence and erasure. This vertical pairing creates a dialogue between clarity and ambiguity, as if the image is being alternately revealed and suppressed.

DOG DEFENSE

Acrylic and mixed media on canvas, incorporating resin, and embedded objects.
24 x 24 in. (60.9 x 60.9 cm)

NO TRESPASSING 

Acrylic and mixed media on canvas.
30 x 24 in. (76.2 x 60.9 cm)

No Trespassing is a dense and explosive composition that transforms the visual language of warning signs, territorial boundaries, and defensive symbolism into a fractured field of layered abstraction. Revolver silhouettes radiate outward from the center of the canvas in overlapping directions, creating the sensation of collision, expansion, and containment simultaneously. Rather than functioning as isolated objects, the firearm forms dissolve into the larger architecture of the composition, becoming fragments within a turbulent system of intersecting color and motion.

LADIES CHOICE

Acrylic and mixed media on canvas.
36 x 24 in. (91.4 x 60.9 cm)

The title, Ladies Choice, introduces both irony and ambiguity, reframing the composition through the language of selection and agency. By presenting the firearm silhouettes in varying scales and configurations across distinct color fields, the painting evokes the structure of fashion displays, cosmetic palettes, or commercial advertisements, subtly blurring distinctions between consumer culture, gendered aesthetics, and traditional symbols of dominance. The result is simultaneously playful and confrontational.

INFERNO

Acrylic and mixed media on canvas, resin encased sculpture and .38 Special Casings.
24 x 24 in. (60.9 x 60.9

Inferno presents an atmosphere of heat, transformation, and intensity . The dominant red palette recalls fire, molten metal, warning signals, and industrial hazard imagery, while the darker surrounding fields introduce depth and visual weight. Together, these elements create a composition that feels both mechanical and visceral — suspended between engineered precision and turbulent dissolution.

RED STOCK

Acrylic and mixed media on canvas.
30 x 24 in. (76.2 x 60.9 cm)

Embedded throughout the angular structure are abstracted silhouettes suggestive of rifle stocks and firearm components, partially concealed within the composition’s overlapping planes. These forms are intentionally fragmented and obscured, functioning less as literal representations and more as symbolic remnants embedded within the language of abstraction. By reducing recognizable objects into geometric shards and outlines, the work examines how cultural symbols persist even after being visually dismantled.

MYSTIC COWBOY

Acrylic and mixed media on canvas with .925 sterling silver and affixed grip.
30 x 24 in. (76.2 x 61 cm)

Mystic Cowboy merges the visual language of geometric abstraction with the mythology of the American West. Angular planes of cobalt blue, crimson red, and ochre gold intersect across a heavily textured ground, creating a fractured architectural space that feels simultaneously constructed and collapsing. The composition evokes movement and collision, like fragmented memories, shifting landscapes, or the splintered iconography of frontier Americana.

BORN TO RIDE

Combine painting-acrylic and mixed media with elements of pop art; mounted through canvas to frame using .38 Special Casings as rivets.
30 x 24 in. (76.2 x 61 cm)

K925

Combine painting-acrylic and mixed media with repurposed  .925 sterling silver
30 x 30 in. (76.2 x 76.2 cm)

Using geometric imposition and clean, defined borders K925 portrays an organic, terrestrial composition. Vibrant, saturated hues of red hint at a humoral theme. Brass knuckles in the focal point act to infer a relation to cause of the humoral segments, and an underlying theme of violence and malevolence. Off centered quadrilaterals wood grained interior texture strengthen the organic message of the piece.

SILVER TARGET

Combine painting-acrylic and mixed media utilizing .925 sterling silver
36 x 24 in. (91.4 x 60.9 cm)

This piece builds itself around a fractured geometry of repeated triangular forms, loosely echoing an isosceles framework while resisting strict mathematical order. Thin, hand-drawn lines radiate and converge across the surface, creating a sense of tension between structure and spontaneity. Rather than resolving into a single fixed vanishing point, the perspective feels suspended, pulled inward toward a central seam that acts more like a rupture than a horizon. At the core, darker gestural forms emerge ambiguous, almost mechanical or skeletal in appearance. They read as both constructed and eroded, as if partially revealed through abrasion or time. These central marks anchor the composition while also disrupting it, pushing against the surrounding symmetry.

RED PISTOL

Combine painting-acrylic, mixed media, and .925 sterling silver on canvas
30 x 24 in. (76.2 x 60.9 cm)

Red Pistol presents a rigorously constructed field of intersecting planes and directional lines, within which a stylized pistol form is embedded at the compositional center. Executed in a palette of saturated reds, blues, and punctuating yellow gestures, the work balances geometric precision with moments of expressive release. Angular color blocks and linear vectors traverse the surface in multiple directions, creating a fractured spatial system that resists a singular point of perspective.

KNIFE TO A GUN FIGHT

Acrylic and mixed media on canvas, incorporating a mounted antique blade and firearm component.
28 x 22 in. (71.1 x 55.8 cm)

Knife to a Gun Fight orchestrates a stark confrontation between eras, technologies, and philosophies of violence. Suspended at the center of the composition, a hybridized object—part pistol grip, part elongated blade—exists in a state of unresolved transformation, neither fully archaic nor wholly modern. Its presence is both literal and symbolic, evoking the idiomatic expression from which the work derives its title while subverting its presumed outcome.