Iconic imagery is where you find it.

I have become obsessed with finding the most cliche, familiar objects in their most generic form. On the other hand, these are real objects, not made up in an illustrator’s psyche or muddied by marketing department’s knack for inauthentic imagery. To use real objects is to inherit elements from the context from whence they came. It is to allow each object to express its own authenticity. Just like people, every real thing has a story to tell.


handy with tools are we?

A steel icon playing a video of another steel icon



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What the?

Nobody really knows why the rubber duck icon is so important.
It just is.


Everyone loves it

Do you know where your slinky is tonight?


Jay Shuh logo


Mayor’s choice

Mayor Jeff Cheney picked this one.


Cyber Security

I see this icon many times daily


Linn Gear logo

A thank you note to my friends at Linn Gear for giving me awesome art ingredients from their bin of test parts


Big Design logo

Trust me. It’s a Big D logo. In fact, its my favorite one.

That's how it should look, like i just walked to the fridge took out a stick of butter and sliced it with a hot knife and said, here ya go. It's a gestalt thing.

The first bunch of icons I made were concrete and contained steel images mimicing micinicfossils emergjng from stone. The objects were all completely hand made by me. I avoided using any existing objects. That was very labor intensive but purist from my art point of view. 

The big problem with using real objects is that, like words that can have multiple meanings, and connotations, an object that audience recognizes can take the piece in anunintended direction. And once seen and recognized, it cannot beunseen. So This  risk of misfire. Yet, flipping that around to positive, I wondered, what if  used objects to do that  a deliberate manner? That is, introducing recognizable objects that hold a lot of meaning to the audience. And that meaning would not be incidental noise, but highly relevant to the subject. Possibly it is the subject.

So, having done the purist thing, I gave myself permission to explore including real objects that were of the type of images one might see on a smart phone or computer screen, very cliche. These included chain links and gears. Chain links were easy to obtain, gears not so much. They were all still in concrete. 

Then through trying a lot of variations, which included pieces with no concrete, i decided that the space was more interesting. Actually this was simply reverting back to the motif of my figures which were mainly about the negative space defined by a minimalist 3d sketch in space. 

This was the result of years of evolution of my own unique approach which began with gesture drawing of human figures which I translated into three dimensions using welded steel. The intention is to create a definition of volume through a minimal form that will trigger the mind of the audience to perceive the form of the subject there by participating in the work. This is much like the work of a writer using words that spark images in the mind of the audience. How many times have you heard someone say, the movie was not nearly ss good as the book.

In the the case of the icons, the steel square defined the perimeter of the space while the object the interior form and subject matter. Yet visually, it is the shape of the negative space that i find most compelling. 

So, when the topic of blockchain came up I immediately began exploring combinations of chains and blocks, literally depicting the substance as once of the metaphore, but all inincorporating negative space as a primary element. 

These are some of the concepts I explored during my. I have more that I will continue rendering in stesteel. The possibilities are endless.

The superimposed virtual and actual

She photographed the art then made it her background on her iPhone, adjusting the scale to get the image of physical steel and concrete icons aligned with those IOS. It reminded me that when I first created that piece, I spent quite a bit of time adjusting position of those steel and concrete icons making sure the proportions were matched with the iPhone. Haha. So now we see that paid off.

Note that the art piece was based on the original pre 5.0 iPhone which had only five rows of icons. 5.0 increased that to six rows and the number and layout now can vary quite bit across the wide array of smartphones.

This isn't the first time that someone has done this, but I think she did particularly well in this instance. It certainly celebrates what I have had in mind since the beginning of my invention of techXpressionism, that is to create experiences that traverse back a d forth across the boundary of virtual and physical. This does that.

This is also a nice metaphor of what I see just the horizon, that our entire world will be this kind of superimposed realities, virtual and actual, to the point of blending into one.

uturism in art is a movements on the heels of cubism that celebrate emotion in static images. Where the paintings of Marcel Duchamp left off belveal brings Futurism into three dimensional art and then the fourth iinhabiting the audiences' space and time.

Born among the tall evergreens of Oregon. An ordinary small town in guy, son of a welder, a deep fondness for the smell of burnt metal in the morning and the authenticic eaesthetics of real materials. Yet a ppioneer of technology part of the experience design movement long before that's what it was called.

Three decades studying the interaction of human beings beings with technology now applied to sculpting exquisite experiences in art.

Studied under Sculptor John, Young, Robert Graves, international designer, Tadeo Shimizu, and technology design researcher, James Hennessy.

Unique airy minimalist style is a sketch in space, a quest Vfx the qa as capture the essence of the form, the concept of its volume, energy, and emotion. His workworks human figures are more about the life than the body.

Applying the principles of perception and cognition to award a calculated minimalist approach, feeding the mind the things it needs to build an impression an understanding while omitting the boring parts.

well known among the tech design community, belveals art pieces have been showcased at design conferences, tech startups, and many other arts and tech related venues.

Known as the resident artist to the Dallas tech design community.

His first love in subject matter is the human figure, favorite artist are Michelangelo and Augusto Rodin.  Picasso and Duchamp. 

The artists voice

Of course, Van Gogh the honesty of btush stokes as the artists voice. I have approached the metal working with this in mind, not hiding the tool marks but celebrating them as part of the art. This is an advantage of working directly in the final medium. unlike a process such as casting where the artist works in clay or wax, and the image is translated into bronze or other cast material. What are the marks of the artist and that of the process, whether executived by the artist or other craftemen can be quite confusing. In direct metal sculpure, there is no such ambiguity. It is all me..

A proud member of the growing arts community of Frisco. A strong advocate for the growth of an arts district in the historic rail district. Serving as an appointed appointeboard member of the city of Frisco, fostering a rich cultivating a collection of ppublic art throughout the city. Member of Frisco Arts and the vvisual arts guild of Frisco, the Texas Sculpture association, Texas inventors association, and many design organizations.

A mentor to the Stadia, an esports business accelerator in partnership with Launchpad City in Frisco. A blogger on design, a design conference sleaker.

Advocate of accessibility, curator of Accessible City. Advocate of collaboration between business, community, technology, and the arts in a Facebook page called Frisco iintersections. 

About this art

Blockchain is a neural thing. Is more like an organic mind than a typical computer processing stored memory and storing it again. Blockchain is constant. It is a contuous validation of information.

There is no assumption that stored information is correct information as there is with traditional computing. To do ehat it does fequires ghat it rremain active.

The idea is a simple one. It is a mixture of simple and complex.

The name itself provides an effective metsphor useful in explaining it, yet tgere is srill a human need to give it a tangible form, a substance. Really, it is more of an emotional need than an intelectual

This what i have set out to do. SSticking with the metaphor and the buildinbuilding upon subtly to reveal a little more without overplaying tgat hand. The main objective is to simply fill the deficit of substance with somesomething that holds a similar and hopefully complimentary, ( though no guarantee s) impression in terms of weight, magnitude, and please make it compelling, a combination of familiar and mysterious, a dichotomy of ultra known snd ordiarg with a twist and in a way ghat answers some questions then poses many more.

Giving an audience something s ok lid to wrap gheir minds around is to me s fascinating challenge. 

Edgy and yet commonplace and ordinary and mundane all in one in the same experience. This an experience design challenge within an art piece.

One last thing

As much as i work with metsphors and deliberately so, in art, the audience eill when connevting to a lice of art, attach their vvery own personal meaning to iit.  I believe it is very important to give them room iin which to do that. I don't want to oover prescribe and dictate to ghd audience wwhat their experience is to be but rather draw them in and invite their involvement making them inti co c ok llaborators with me in the  reative process not through to much smbiguity that they are left hanging withiut a clie, but with the correct combination of thoughtful input and room to bend it and shape it into a new experience. Its the experience that tfuly is ghe ulimate goal more than tbe the object. 

I guess this is kind of my artist's manifesto 

Then just a little more

Fresh metal vs. Identifiable objects.

For a long time I avoided using any recognizable objects. They can take the art in directions i didn't intend. And once identified, you can't unsee them. I stuck with new stock steel only.  Then i decided to explore inserting familiar items but in a very deliberate manner where the imagery and connotation was deeply relevant to the work. Pursuing iconography and the inverted skeuomorphism led me to cliche objects typically comprised in icons. That included gears and that led me to our buddies at Linn Gear.