Above is my first iteration of a geometric solid "set" comprised of seven forms sequenced according to the number of surfaces each had, airbrushed in acrylic medium on archival board, 18 inches square. I had to surrender the regularity of the sequence of faces when I couldn't choose between the prism and the pyramid as the quintessential example of five-sided form, and I chose to end the series with the cube, as further multiplication of the number of surfaces began to return the resulting volumes towards an ever more faceted sphere.
The first three dimensional models presented the forms in sets of the same length, surface area, and volume. The above installation shows the model sets from left to right progressively in sequences of the same length, area, and volume at the Lexington Opera House exhibition in 1980.
This exhibition of the models in the same year at the Piedmont Gallery in Augusta, Kentucky shows the models in sequences of the same length, volume, and area from top to bottom.
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"Geocolumn*" installed at Murray State University, Kentucky, in 1978.
"Geocolumn" was the first "full size” manifestation of the geometric solid set. Each of the solids was given the same linear dimension, (height, width, depth, diameter) and the 7:1 proportions of the resulting column invoked the proportions of an armless classical standing figure, an association which evolved to the title "Geovenus."
experiments with extended axes, opposed forms and composite solids.
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"Self Portrait" 1978.
All the models and drawings of the set were included, and I made the central display "island" and pedestals for the exhibition.
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Concentric groups of solids in Maple from the turned form set.
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Sculpture I fabricated in metamorphic stone during a stay in Lagos, Portugal, in 1985.
In the summer of 1985 I was invited to visit Portugal, spending some time helping at the international stone carving workshop and exhibition in Porto, and later had an opportunity to work in stone for the first time at a stoneyard near Lagos, in the Algarve, with a variety of locally available stone.
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Further groupings combining extended axes, opposed forms and composite solids.
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The images below show renderings of the sculptures digitally remodelled after 1996, and as they appear currently installed in DAAP..
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