§ I
Artist Statement
Feral art is work that lives outside institutional frameworks — made in a workshop, shaped by decades of architectural thinking, answerable only to the material at hand.
An architect’s discipline turned toward scavenged ends. House paint on construction waste. Silkscreen on handmade paper. A chair drawn from a single Douglas fir 2×4. The practice moves between drafting-table precision and the patient logic of salvage — between what Chicago training demanded and what rural Wisconsin teaches about time.
Nothing here was made to be precious. Dumpster plywood, construction scraps, cotton pulp, commercial printing processes — these are the starting materials. The work asks what happens when “low” techniques address the subjects typically reserved for the institutional frame: celebrity, surveillance, mythology, absence.
§ II Recurring subjects
Watching, and being watched. Cultural icons as empty vessels — Marilyn, Amy, the Statue of Liberty stranded on Mars. The distance between people, measured in planets or in silence. Materials that carry their own histories, and refuse to forget them.
Technical mistakes become expressive choices. Halftone dots serve both distance and intimacy; water left to run does what intention cannot. The closer you look, the more the image dissolves — into dots, drips, grain.
§ III Method
Every angle calculated. Every cut intentional. Traditional joinery — dovetail, dado, mortise and tenon — serves both structure and sculpture. When the brush decides before the mind catches up, that is also method. The grain sometimes says what the blueprint couldn’t.