I proposed in my paper to use juxtaposition of unexpected scale in my sculpture, with the expectation that it would create an unexpected tension that is visually stimulating to the viewer. I achieved this by creating disharmony in scale between an object that is perceived as miniature and an object that is perceived as gigantic within each sculpture. I then asked three questions of these sculptures: Was I able to alter the viewer's preconceived notions of the miniature and the gigantic through the manipulation of the size relationship between two objects within each sculpture? Which of these preconceived notions of the miniature or the gigantic became dominant as the main focal point in each sculpture? Did this intentional use of disharmony in scale stimulate enough of my interest to continue investigating this idea? I wrote about three sculptures that had been made for this project. The first was Manifest Destiny, a seven and a half foot tall bronze piece depicting an oil drill with a platform in the shape of the state of Texas. On the platform a gigantic bronze figure rides a miniature bronze donkey across the platform. The second bronze sculpture I wrote about was Gulliver in Suburbia; …

After generating work for many years in an intuitive, “truth to materials” mindset my intent was to explore the interior possibilities of my sculptural forms and relate these if possible, to the exterior. Alongside this exploration of the interior I introduced surface texture and color onto both interior/exterior surfaces. In some cases the work had undergone a change, which lent new meaning and provided new relationships to exist between the interior/exterior of my sculpture. Not all of the work was satisfactory to me, though I feel there were many positive results from work that may not have been successful. I found that the integration of the interior/exterior dialogue into my existing work provided new meaning allowing new relationships within the work that had not existed previously.

This paper is an experiment using digital video to locate and identify the abstract in everyday life and nature. The abstract moment occurs when the image that is captured by video loses its connection with the original context, allowing the images to be viewed in an entirely new way. The abstract moment is initiated by a transformative instant, that instant in which perception is altered and the viewer sees the intended content of composition of light and sound. The project contains four digital videos that record the artist's progress and interests.

This Problem in Lieu of Thesis documents the thought processes that led to the completion of a series of five interactive sculptures. Each piece incorporates a part of the human body taken from its normal context and placed into the context of children's playground equipment.

The images that I sculpt deal with reflections of human traits. Wood lends itself to this endeavor, offering minimal resistance to manipulation. Keeping the origin and qualities of the material while manipulating it into another object is a statement within itself. Letting the wood do what it does naturally keeps the viewer in touch with the fact it is still just an object of nature. Wood does not make itself any less real because of the relationship of the sculpture to it as wood.

Memory Beast was a series of experiments in multispecies collaborative storytelling. A new tool was created, a memory beast, a holotype representing our ideas of specific species, based on memories and drawings collected in participatory research. The fabricated memory beasts, placed next to their biological counterparts, made visible the conflation of living species with personal memory and cultural imagery. Using this new tool, implanted with sonic recordings of cows, the beginnings of an interspecies pidgin language was developed. Memory Beast imagined and enacted new pathways to finite flourishing on a wounded earth, planting story seeds for alternative realities.

Not many artists have made a successful connection between art and text. In this installation of four works of art, I have given a new perspective on commerce by combining my poetry with common products. The content of my work is based on experiences I have had throughout my life. I believe that I have successfully combined my poems and art into cohesive works that break through the conventional understanding of products and their packaging.

Work of art in spider wood, aquarium plants, 3d prints by artist Russell Anderson as part of his 2021 exhibition, entitled "Modified Aesthetics on an Inner Space".

Work of art in vinyl, aquarium light, brackets by artist Russell Anderson as part of his 2021 exhibition, entitled "Modified Aesthetics on an Inner Space".

Work of art in spider wood, aquarium plants, 3d prints by artist Russell Anderson as part of his 2021 exhibition, entitled "Modified Aesthetics on an Inner Space".

Work of art in vinyl, aquarium light, brackets by artist Russell Anderson as part of his 2021 exhibition, entitled "Modified Aesthetics on an Inner Space".