His current work addresses climate change and resource consumption and their impact on the oceans. Earlier exhibitions, including Waterman’s Lure and Marking Time, referenced water and related forms drawn from the maritime world, exploring travel through water as a metaphor for the uncertain journey through one’s life. In subsequent years, his work incorporated images of water and explored emotional aspects of an environment that is both familiar and mysterious, provoking complex responses spanning the range from desire to dread. This was particularly the focus of the Surge and Prescience exhibitions following Hurricane Katrina.
Utilizing a hybrid ceramic/printmaking technique he developed, his sculptural wall works feature drawn and screen-printed imagery on large ceramic tile forms, cut into geometric shapes, often glazed or layered in clay slip and framed in stainless steel. Technically complex, the final form is constructed from specific shapes bearing images, developing a visual dialog between the nature of the sculptural form and the images that make it up. Further, the materiality of the steel and clay asserts a physical presence and objecthood as a counterpoint to the illusionism of the images.
Exhibited nationally, recent solo exhibitions of his work have included “Short Sea” 2025, at James May Gallery in Milwaukee Wisconsin, “Dwell,” 2019 at the Workhouse Arts Center in Lorton Virginia, “Manifest,” 2020 at the Capitol One Gallery in Richmond Virginia, “Prescience,” 2008 at Gallery Bienvenu in New Orleans, “Recent Work,” 2007 at the Switzer Center for Visual Art in Pensacola, “Surge,” 2006 at Gallery Bienvenu in New Orleans. His work is represented by James May Gallery in Milwaukee, Jo Fleming Fine Art in Annapolis, and Erdreich-White Fine Art in Boston, and he maintains Sycamore Studio in New Orleans, LA.
