material

A series of generative drawings output on an AxiDraw pen plotter. Each composition is grown digitally — topographic contour fields and warped wireframe meshes built in Cinema 4D and Rhino / Grasshopper, then cleaned and pathed in Illustrator — and drawn by the machine as a single continuous ink line onto colored stock, so the plot is a genuine one-pass pen drawing rather than a print. Released as an open edition through my futuremagic shop. Each sheet signed SR 2021.

A series of single-line pen-plotter drawings output on an AxiDraw. Each composition is drawn as vector paths in Adobe Illustrator - contour fields, maze-like offset bands, and organic islands left as negative space - then pen-plotted in black ink onto sheets of translucent white Yupo, a synthetic waterproof paper whose milky, non-absorbent surface lets the ink sit crisp and glossy on top. Hung pinned at the corners off the wall so light passes through the stock and the linework floats. Every drawing is one continuous machine pass, signed in the corner.

A fluid-art pour on a square panel using Golden acrylics cut with Golden’s Color Pouring Medium (Gloss) to a self-leveling consistency. Red, blue, and yellow are layered and tilted across the surface so they marble into one another — the medium lowers the surface tension just enough to keep the colors crisp while letting them braid into ribbons and cells, with the runoff catching its own secondary patterns off the edge of the board.

A set of single-wall vessels - a tall faceted vase and a pair of twisted desk cups - printed in spiral vase mode, where the nozzle climbs in one continuous seamless wall instead of stacking discrete layers. The profiles were designed in Vaseworks, my browser tool for sketching a revolve profile and exporting a watertight single-wall STL; a per-height rotation applied to the profile gives the slow twist that catches light down the faceted ridges. Printed in cobalt PLA at a coarse line width so the ribbed wall reads as deliberate texture rather than layer artifact.

A small wicked candle vessel made through the full toolchain: a master is modeled and 3D printed, then used to cast a two-part silicone mold. Modified gypsum resin - pigmented in the bucket for solid color - is poured into the mold, with a raised feature forming a recess that seats the candle’s wick clip. Once cured, a melted beeswax-and-soy blend is poured into the finished holder around a wooden wick, propped level on a stick while it sets.

A geometric candle diffuser designed in Rhino and 3D printed in translucent white filament — a study in how the printer’s internal infill geometry reads as light. With the outer walls kept thin and translucent, the lattice that normally hides inside the part becomes the whole point: a candle set inside casts the structure outward, so the wall glows with the pattern of its own scaffolding. Printed in two infill schemes — a crisp orthogonal cubic lattice and a soft, continuous gyroid — to compare how each diffuses and patterns the light.

Square tiles cast from a platinum-cure silicone loaded with strontium-aluminate glow powder, poured into shallow 3D-printed frame molds so each pour sets as a flat, translucent slab that holds a charge. Once cured, a UV laser diode is mounted in the pen carriage of an AxiDraw plotter in place of a pen - so instead of inking, the machine traces vector paths in light, sweeping the beam across the phosphorescent surface to "draw" with charge. Wherever the beam dwells the powder excites and holds, so the plotted linework - grids, contour fields, warped meshes - blooms back out as a glowing afterimage in orange, teal, and blue once the room goes dark, fading slowly as the charge decays.

Hanging mobiles made as site decor for Canyon Vibration. Off-cuts of dimensional lumber are sawn into simple geometric shapes - squares, triangles, leaning trapezoids - sanded, then painted in flat blocks of red, blue, yellow, grey, and black so the saw-cut end grain and growth rings still read through the color. Strung in vertical pairs and threes on cord, they were hung from a strung line across the meadow and tucked into the orchard trees, turning and clacking in the canyon wind over the festival grounds in Tygh Valley.

A continuous bolt of natural-fiber cloth - several yards long - immersion-dyed solid black with Procion MX, then accordion-folded and clamped into a repeating shibori grid and dipped in a bleach bath to discharge the color back out. The dye lifts unevenly along the fold lines, leaving a ladder of soft-edged ecru and warm-grey bursts on a near-black ground that runs the full length of the fabric.

A run of solid-shade garment dyeing - thrifted and blank natural-fiber pieces (100% cotton and rayon) immersion-dyed with Procion MX fiber-reactive dyes in a soda-ash bath. Each color is built in its own vat: a cool turquoise-to-teal blend, a deep golden amber, and a saturated royal violet, agitated by hand and left to cure so the dye chemically bonds to the cellulose for a wash-fast finish.

A faceted, half-twisted hexagonal tumbler made through the full ceramic-production toolchain. A master is modeled and 3D printed, then blocked into a two-part plaster mold so the geometry - flat triangulated facets spiraling a quarter turn up the body - transfers cleanly. Liquid porcelain slip is poured into the closed plaster mold; the gypsum wicks water out of the slip to build an even wall against the cavity, the excess is drained, and the leather-hard casting is freed when the halves are pulled apart. Cleaned up and fired to a soft bone-white bisque that holds every crisp facet edge.

A spherical voronoi cage modeled in Cinema 4D - a closed shell scored into irregular polygonal cells, then thickened so the cell walls become rounded struts around open windows. Printed on an Ender FDM machine in white filament, then flooded with a pourable casting resin: the resin sheets over the strut network and pools into the open cells, drying to a glossy skin that webs across the openings. Lit from inside, the finished object throws the voronoi pattern outward as a soft net of light and shadow across the wall.

A sibling to the Metaball Stars, printed in Protopasta’s iron-filled filament so the part carries real iron powder in its skin. Sanded and polished to open the metal up, then brushed with a rust-activating solution that oxidizes the surface in place — turning the embedded iron to a mottled orange-and-grey patina that settles into the contour layer lines and the recessed metaball pockets.

A radial, urchin-like form grown from overlapping metaballs in Cinema 4D - soft blobs blended into a single skin so the spikes, satellite beads, and central bore all read as one continuous surface. Printed three times in Protopasta’s metal-filled filaments - one each in copper, bronze, and brass - then sanded back through grits and polished so the embedded metal powder burnishes to a real patina. The fused-layer contour lines wrap the body like topographic rings.

A pair of statement earrings made by pouring clear casting resin freehand over diffraction grating film and peeling the cured forms off the backing, so the microscopic grating transfers to the resin face. The flat surfaces split light into a full spectrum that slides as the earring turns; hung on anodized niobium ear wires and jump rings.