The following images are of an installation commissioned by Dr. Ernie Nagamatsu.



Toner, wax, enamel, epoxy resin, book pages on stainless steel panel.

Fabricated by Will Kalbermatter, reknown for making exquisite WW2 airplane parts and custom vintage race cars body parts. The piece was made to conform to the contour of the existing wall with curved stainless steel frame tubing. The artwork on stainless panels is held together using stainless steel airplane rivets, and the stencil used to write the title was made from an authentic U.S. Army issued stencil making machine from WW2.

“You further called it an exhibition of ‘California Architects’. Now it has become one of ‘Neutra and others’. I am quite willing to give Neutra the crown for his ability as a publicity man, but I am not willing to sail under his flag as an architect.” — Schindler to Mrs. Frantl at MOMA in response to an upcoming exhibition, September 1935

“I consider myself the first and still one of the few architects who consciously abandoned stylistic sculptural architecture in order to develop space as a medium of art. … I believe that outside of Frank Lloyd Wright I am the only architect in U.S. who has attained a distinct local and personal form language.” — Schindler to Elisabeth Mock at MOMA, August 1943

Toner, wax, pages of LA Architectural Handbook on aluminum panel.

This ceiling mural was the departure point of this Los Angeles architectural series in collaboration with Dr. Ernest Nagamatsu for the high tech patient cleaning room. This series was made possible by the generous support of Dr. Ernie and Elaine Nagamatsu.

The following images are of a series related to the Los Angeles Archtectural Survey.


Encaustic wax, oil, toner, pages of Modern Movements on wood panel mounted on sheetrock.

This series is dedicated to mid-century modern architects and their iconic houses in and around the Los Angles area.  The survey was inspired by an eclectic mix of modern chic elegance, innovation, and a fierce modernist spirit which shaped the unique cultural landscape of Los Angeles for years to come.

“Our economy dictates that machine products and machine techniques be the essence of our buildings. We cannot now regress to the bearing wall and to handcraft methods, to forms that repudiate machine building.” — Craig Elwood

“You can pass, in poetry, at a leap from Pope to Blake, for the sleepiest printer can set up the original remarks. But the conception of an architect must be worked out by other hands and other minds than his own. Consequently, the changes of style in architecture must keep pace with the technical progress of the crafts. And if, at the bidding of a romantic fashion, an abrupt change of style be attempted, then the technique of organization required by the new ideal must not be more exacting than those employed by the existent art. For neither technique nor organization can be called into being suddenly and at will.” —  Geoffrey Scott


The following images are of a permanent installation at Homeboy Industries.


Toner on book pages of Tattoos on the Heart by Father Gregory Boyle, founder of Homeboy Industries in 1992.

Homeboy Industries is a youth program founded in 1992 by Father Greg Boyle, S.J. following the work of the Christian base communities at Dolores Mission Church. The program is intended to assist high-risk youth, former gang members and the recently incarcerated with a variety of free programs, such as mental health counseling, legal services, tattoo removal, curriculum and education classes, work-readiness training, and employment services. The most distinctive feature of Homeboy Industries is its social enterprises/small businesses, which gives hard-to-place individuals an opportunity for employment in transitional jobs in a safe, supportive environment where they can learn both concrete and soft job skills.


HOMEBOY PORTRAITS (SERIES OF 18). 2013 (30"x20")