In 2011 I began work on a new craft - leatherwork - and a new mission to keep this ancient and traditional art form relevant and lively in the 21st century. This Saturday I unveiled the series so far at Rising Gallery - new work pictured below.
Cuero Medusozoa, 2011
Cuero Capra Siamesa, 2011
Pump Jack, 2012
Cuero Gargola, 2012
Cuero Bovinae Siamesa, 2011
Cuero Felis Siamesa, 2012
Cuero Auriculares, 2012
Cuero Camara, 2012
Schematic Beta, 2012
Schematic Alpha, 2011
Last year I inherited my Grandfather's extensive set of leatherworking tools, and decided to try my hand at learning a new way to work. I think everyone has a relative who works in leather making holsters, belts, and the like, but it's almost always members of older generations. I am attempting to resurrect and update a dying art form (Google "Leatherworking" and you get way more sites for World of Warcraft than the actual art itself, le sigh.)
Amor Fati -- Collaborative work with George Fowler
AD HOC, Tooled Leather, 2011
Fantastic Alligator, Tooled Leather, 2011
Chair seat for Fairmont Hotel, Tooled leather 2011
Detail of a custom belt, 2011
The Cheesiest, Reborn!
I recently inherited my Grandfather's leatherworking tools, and I decided to use them on reclaimed copper sheeting.Leatherworking typically represents a misty-eyed view of nature and rural America.I am using those techniques to show the reality of what our lifestyle has done to our land and water, and the creatures we share it with.
The Cheesiest” is an examination of the anatomy of one of my staple food sources.I sculpted the ingredients on the back and learned that it's hard to squeeze TRIPOLYPHOSPHATE next to SALT, and the act of doing so made me more leery than ever of the chemicals we take for granted in our food.
I made the bird and Cicada as studies of the different kinds of mechanical genius found in organic systems.Organic structures, a feather, exoskeleton, or a Ventricle, defy easy geometry and make our cleverest machines appear crude. Building from nature is always humbling.
Guns are one of the most intensively engineered machines in human history; a marvel of form and function.I wanted to celebrate the ingenuity of the pistol while questioning the use of resources on a machine designed expressly to kill.
ACCESS is a metaphor about all the doors that have been opened for me by dint of skin color alone.Systemic racism is alive and well in Dallas and in our art community, and the only way to change that is to bring it out into the open and start a conversation about it.
Brass, steel, plastic-coated wire, 13'x3"x2"
“BIC” is another everyday object exploded for closer study.Pulling back the outer skin reveals both the brilliant design, and the array of materials and parts that go into a tiny “disposable” lighter.Plastic, copper, brass, flint, steel, aluminum, naphtha; all brought together for our convenience, and thrown away without a second thought.
Aluminum Cicada, 2009
Stamped aluminum and stain on steel honeycomb and plywood, 18x18. Art Con V Photo c/o Ange Fitzgerald