Celestial Faces
Clay and glass, shaped by light.
This is a new body of work—one that moves beyond the animal portraits I’m known for and 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, sculpted by hand in clay.
I spend time shaping the structure, refining the expression, and letting the form settle into something that feels present. Not idealized. Not stylized. Just grounded.
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.
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 piece 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.
This piece doesn’t push outward.
It gathers, softens, and returns.
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 forward drive, placed intentionally along the structure rather than scattered across the surface.
The face remains fully exposed. Nothing softens or obscures it.
This piece doesn’t radiate or dissolve.
It holds—and pushes.
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 piece doesn’t project.
It sustains.
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 piece doesn’t radiate or resist.
It pulls and holds.
Process
Each piece begins the same way—with a face, sculpted by hand in clay.
At this stage, everything is quiet. I focus on proportion, structure, and expression, refining the surface until it feels grounded and present. The form is kept simple and direct—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. This stage defines how the work will move, and how it will hold itself 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 all used to reinforce the character of each piece. Some areas are built up, others are left open or restrained, creating variation and depth across the surface.
Nothing is applied evenly.
Each decision is made in response to what the piece is becoming.
The final result is not a fixed plan carried out step by step, but a process of building, adjusting, and refining—until the form, material, and surface all hold together as one.
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 something that can’t be seen directly—
but can be felt.
At this stage, everything is quiet. The surface is raw. The piece is still becoming.
From there, the work expands outward.
The face becomes the center of a larger circular composition, and I begin building with mosaic glass—layering color, movement, and texture to create the surrounding field.
The glass doesn’t decorate the form.
It completes it.
Living with Sacred Art
Each creation carries a spark of devotion and renewal.
If one calls to you, explore what’s available in Available Works or reach out to discuss a custom piece made just for you. [contact page]
People Love Their Sacred Art
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Vessels for healing
Alicia captured the spirit of the piece so beautifully. Her work brought both peace and healing. She’s a very special, spiritual artist.
— Jenny, California -
Quiet companions for reflection and ritiual
Immediately felt an affinity to this mosaic prayer tile. It has been a strong addition to my altar.
— Terrence, Oregon -
Love made visible
Alicia brought deep care and intuition to a mosaic made in honor of my mother-in-law’s strength. The result radiates love and resilience.”
— Melissa, New York -
Pathways of stillness
The mosaic labyrinth Alicia made for my wife is beautiful and unique—a true meditative piece.
— Tony, California