Stand #6, 2017
12 × 12 in
30.48 x 30.48 cm
Gouache, printmaking ink, acrylic, collage on paper
Private Collection
Stand #6 (sweet, 2019
8 × 10 in
20.32 x 25.4 cm
Gouache , prinkmaking ink, acrylic, collage on paper
Collection of Randall Slaughter
Stand B, 2018
19 × 22 in
48.26 x 55.88 cm
Gouache, printmaking ink, acrylic, collage on paper
Private Collection
Stand (orange) , 2026
14 × 18 in
35.56 x 45.72 cm
Gouache, acrylic, collage on paper
Collection of The University of Iowa
Stand #7, 2018
10 × 16 in
25.4 x 40.64 cm
Gouache, acrylic, collage on paper
Private Collection
Stand #5 (w/ megaphone) , 2026
10 × 14 in
25.4 x 35.56 cm
Gouache, printmaking ink, acrylic, collage on paper
Collection of The University of Iowa
Stand (red, yellow, brown), 2019
20 × 20 in
50.8 x 50.8 cm
Gouache , acrylic, collage on paper
Private Collection
Stand #5, (w/ green can) 2019
20 × 20 in
50.8 x 50.8 cm
Gouache , acrylic, metal, collage on paper
Private Collection
Stand #8 (blue & yellow), 2026
12 × 12 in
30.48 x 30.48 cm
Gouache, printmaking ink, acrylic, collage on paper
Collection of Grace A. Roth
Stand (blue w/ radio), 2024
20 × 20 in
Gouache , acrylic, collage on paper
Collection of Cassidy Pietrick
Stand #3, 2017
8 × 12 in
20.32 x 30.48 cm
Gouache, printmaking ink, acrylic, collage on paper
Private Collection, Kansas City, Mo
Stand e (green ) , 2026
10 × 14 in
25.4 x 35.56 cm
Gouache, printmaking ink, acrylic, collage on paper
Collection of The University of Iowa
Portraits in Place
In this series, I continue to explore the simple architectural form of the stand. Built for a utilitarian purpose, these modest structures have become an ongoing source of curiosity and inspiration. Through repeated observation and memory, they begin to reveal something quieter and more personal. I treat them as portraits. Each stand is composed on a stage—centered, isolated, and still. Raised on a delicate framework of balanced supports, they hover above the landscape, allowing the eye to move through the structure and continue toward the horizon. This suspended balance softens their physical weight, reducing them to an arrangement of proportion, silhouette, rhythm, and space. Always viewed from behind and facing the sea, they possess a presence that feels both familiar and contemplative. I often think of them as quiet guardians—modest monuments to order and protection, yet continually exposed to the elements. Subtle shifts in scale, rhythm, and geometry allow each structure to assume its own distinct character, while weathered surfaces echo the passage of time. Reducing each structure to its essential form allows proportion, silhouette, and spatial relationships to become the focus. The work is rooted in memory and invention. Years of drawing from observation have created an internal vocabulary of form that I reconstruct intuitively through collage. Built from painted papers, layered pigment, abrasion, sanding, and transferred impressions, the surfaces develop slowly, carrying traces of erosion and time. The physical process allows unexpected marks and textures to emerge, giving each structure its own history. This series has become an ongoing collection of case studies. Working with the same subject over time has taught me that repetition doesn't erase individuality—it reveals it. For me, these Anonymous Structures celebrate the hidden beauty of the ordinary—humble stands shaped by time, memory, and human presence.
