Prisoner #1

Many of the most imposing carvings from the ancient world depict the subjugation of other cultures and kingdoms. Giant Kings, Shahs, and Pharaohs, looming large, like giants above the diminished forms of the vanquished. The bodies of the warriors are often displayed, twisted and contorted, under the victor's feet. Even Michelangelo found this violent contraposto provocative and inspiring.

Prisoner #2

Second in the series of a reworking of the theme of the conquered soldier in retreat or repose. I wanted this figure to reflect the way that hieroglyphics portray figures in a very exact kneeling pose, almost architectural. The proportions are exaggerated in a mannerist way to show contortion and discomfort–the somber colors to reflect isolation.

Heka

I saw a gallery patron staring at this piece for a long time. After talking to some other people at the show, I glanced over and saw that the woman had begun to weep. I approached her and asked if she was offended by the piece. She said, "I would buy this right now, but if I had it in my home, I wouldn't be able to look away." The impact of the piece will never be forgotten. This work is intended to represent the god of magic, and if it captures and holds anyone's gaze, it is a success.

Chimera

In this piece, I drew inspiration from Egyptian hieroglyphics and composite animals from ancient mythology, such as the Chimera. I wanted to create a symbolic language that exemplified strength, pride, and the interconnectedness of nature.

Hieroglyphics #1

To complete the reimagined world I needed to give the denizens their own culture and philosophy, including their own script and hieroglyphics. These are abstractions of animals, humans, and daily implements turned into chthonic symbols and occult signifiers.

Thoth

Thoth—Djehuty in the oldest texts—is less a “god” in the narrow sense and more a structural principle of consciousness. In Egyptian cosmology, he arrives at the moment when the raw, uncarved chaos begins to differentiate. If Atum is the first stirring of being, and Ptah is creation through intention, then Thoth is the first articulation—the Word that names, measures, and thereby makes possible the world.

En’net Priest

This crouching female nude wears the head of a great river fish—a mask that transforms her from mortal into emissary. She is a priestess of En’Net, the god of the Nile, whom I have imagined as a man with the head of a Nile carp.

En’Net embodies the cycle of abundance and reckoning: the reminder that the fattest fish is the first to be pulled from the water. The cult of En’Net warns against vanity, pride, and the illusion of safety in excess.

Wenet

$975

Centauride

Anubis

Seshem

Seshem is a trickster figure who delights in disrupting the established order, causing chaos and upheaval. However, this disruption generates new beginnings and opportunities for growth and renewal.

This deity represents the chaotic force of nature that disrupts the natural order. In Egyptian mythology, the locust was associated with destruction, as swarms of locusts could devastate crops and other vegetation. His central importance to the Shayt Remef culture is closely tied to the worship of Seth. He mocks order, hierarchy, and stasis.