Sun study — early composition mockup
Celestial Faces
Clay and glass, shaped by light.
Sculptural mosaic works in progress. None of the pieces are finished yet.
The Series
I’m using the solar system as a framework for the series.
Each piece is shaped by the character of a planetary body—not as a literal depiction, but as an interpretation translated into form, surface, and structure.
This is a new body of work that expands my mosaic practice beyond animal portraits into something more elemental and human.
Each piece begins with a sculpted face and expands outward into light.
For years, my work has been about connection—between people and the animals they love, between memory and material, between what we feel and what we can hold.
That foundation is still here. But this series turns inward.
Instead of reflecting a specific relationship, these pieces explore something more universal—something shared.
Each work begins the same way: with a face, shaped slowly by hand in clay.
I refine the structure, adjust the expression, and let the form settle until it feels present. Not idealized. Not stylized. Just grounded.
From there, everything moves outward.
Each piece begins the same way—with a face, sculpted by hand in clay. Some areas are built up, others left open or restrained.
From Process to Form
Sun — Presence
The Sun is the center—radiant, active, and constantly expanding.
The surrounding form moves outward in all directions, built with sparkling glass in warm tones—gold, amber, and deep reds that catch and reflect light continuously. The surface shifts as you move around it, never settling.
The face remains fully exposed, steady at the core while everything around it radiates.
This energy projects.
It is outward, visible, and uncontained.
Moon — Reflection
The Moon is quiet, internal, and veiled.
Lepidolite forms the surface—soft, muted tones that hold light rather than reflect it sharply. The surrounding form drifts across the face like atmosphere, partially obscuring and revealing at the same time.
The surface builds in layers, with areas of density and areas that nearly disappear. Nothing is evenly distributed. The effect is soft, shifting, and subtle. The face is not fully hidden, but it is not fully revealed.
Mars — Will
Mars is force, direction, and restraint.
The form tightens. A sharp widow’s peak establishes a central point of tension, and from it, the surrounding structure is pulled back in controlled, directional ridges. Nothing flows freely—everything is held, aligned, and contained.
There is no release beyond the boundary. The movement is pressed outward only to the edge, where it stops cleanly. The energy doesn’t disperse—it builds and holds.
Color carries the weight. Deep reds and the presence of carnelian reinforce the sense of pressure and
Earth — Grounding
Earth is stability, growth, and containment.
Her hair becomes foliage—layered, organic forms that suggest growth and rootedness. Greens, browns, and natural tones dominate, with materials that feel more matte and grounded.
The structure is less about movement and more about balance. Nothing pushes outward aggressively. Instead, the form holds itself—steady and supported.
This energy sustains.
It is stable, rooted, and self-contained.
This energy gathers.
It softens, veils, and returns inward.
Venus — Attraction
Venus draws inward rather than projecting outward.
The structure flows continuously, with hair and form merging into one another. There are no hard boundaries between elements—everything transitions, softens, and connects.
The palette leans warm—creams, soft pinks, and subtle golds. The surface is cohesive rather than fragmented, holding attention without force.
This energy pulls.
It attracts, softens, and holds.
forward drive, placed intentionally along the structure rather than scattered.
The face remains fully exposed. Nothing softens or obscures it.
This energy holds—and pushes.
It is focused, directional, and contained.
Where It’s Going
This is early work in the series.
I’m still discovering what each piece wants to become—how the materials respond, and how far I can push the balance between sculpture and mosaic.
But the direction is clear.
To give form to what can’t be seen directly— only felt.
Explore the Work
At this stage, I focus on proportion, structure, and expression until the form feels grounded and present. Nothing is added that doesn’t serve the piece.
Once the face is established, I begin building outward.
The surrounding form is shaped to carry the energy of the piece—whether that means radiating, flowing, veiling, or tightening within the circular boundary.
From there, materials are introduced.
Mosaic glass, stone, and other elements are applied intentionally—not as decoration, but as part of the structure. Color, surface, and density are used to reinforce the character of each piece. Some areas are built up, others left open or restrained.
Nothing is applied evenly. Each decision responds to what the piece is becoming. The final result isn’t fixed from the start. It emerges through building, adjusting, and refining—until form, material, and surface hold together as one.
