sun face  (ceramic, wood, 2000)

glass eye  (rubber, papier-mâchè, beads, 2000)

rubber smile  (rubber, papier-mâchè, silver beads, 2000)

got teef  (rubber, papier-mâchè, beads, 2000)

gold eyes  (ceramic, metal, beads, 2000)

couple  (papier-mâchè, feathers, marbles, 1999)

red pepper  (ceramic, lentils, feathers, 1999)

cracks  (ceramic, 1999)

sneer  (ceramic, feathers, 1999)

metal tears  (ceramic, found rubber and metal objects, 1999)

see  (ceramic, 1999)

snail eyes  (ceramic, cherry snails, hemp string, 1999)

wrinkles with some hair  (ceramic, hairy stuff, beads, 1999)

dream of death  (ceramic, beads, 1999)

doorknobs 1  (papier-mâchè, door parts, 1999)

sleep  (ceramic, feathers, beads, 1999)

pipe 1  (ceramic and hairy stuff, 1999)

pipe 3  (ceramic and that hairy stuff, 1999)

pipe 4  (ceramic and hemp string, 1999)

potscrubber hair  (ceramic, found metal objects, 1999)

spring hair  (ceramic, found metal objects, 1999)

puffy cheeks  (ceramic, found metal objects, rubber, 1999)

metallic 1  (ceramic, found metal objects, 1999)

swamp face  (ceramic, feathers, beads, 1999)

olive  (ceramic, beads, 1999)

trapped  (ceramic, beads, 1999)

gluey  (latex glue, feathers, beads, 1998)

appearing  (ceramic, beads, 1998)

parallel wrinkles  (ceramic and that hairy stuff, 1997)

mrs. lane  (ceramic, feathers, 1997)

wicker face  (ceramic, feathers, beads, 1995)

wrinkles 1  (ceramic, beads, 1995)

facial hair  (ceramic and that hairy stuff, 1995)

half-half  (ceramic, ribbon, 1995)

teardrop  (ceramic, 1995)


All around us, we see the physical appearances of people, things, and events.  But there is a lot more transmitted in the act of seeing than just information about these appearances.  The psyche, our emotional framework, interacts with the forms we perceive and creates a layered and mysterious personal reality.  We seem to always be moving in a web of forces that inspire, motivate, and trouble us.  Love, fear, doubt, joy, desire, and other, subtler flickers of emotion move us and lead to our complex states of mind.  It can be disturbing to feel the pull of these inner forces in our lives, but my artwork allows me to bring them out in a safe space.  The expressive face, whether human or fantastic, has been the main focus of my art since my childhood years.  I am fascinated by how our spiritual and emotional makeup can become very apparent through our facial expressions.  An image of a face can communicate feelings and emotions to anyone, without words or thoughts.  Each individual responds to specific faces differently, depending on his or her own life experiences and personality.  Although certain facial forms evoke universal reactions, I hope that my art reaches viewers on a personal level as well.

T.J.B May 2000

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