Inclusion Relief Assemblage Series
Shop our vast selection in the collection of our Inclusion Relief Assemblage Series
DISCHARGE
Acrylic and mixed media on canvas, incorporating resin, and .38 Special casings.
30 x 24 in. (76.2 x 61 cm)
Adjacent to the firearm, partially embedded within the same sealed field, a recognizable credit card fragment becomes an essential counterpoint. This inclusion reframes the act of “discharge” beyond its ballistic implication, extending it into the realm of financial transaction—suggesting expenditure, release, and the instantaneous transfer of value. Also observed, four .38 Special casings hold the sculpture to the canvas. The work subtly equates the pull of a trigger with the swipe of a card, implicating systems of consumption within cycles of force and consequence.
DOG DEFENSE
Acrylic and mixed media on canvas, incorporating resin, and embedded objects.
24 x 24 in. (60.9 x 60.9 cm)
Introduced in France by Charles-Francois Galand in 1894, the Velo-Dog was designed specifically for early bicycle riders to defend themselves against aggressive, stray or wild dogs. During the late 19th century bicycle riders frequently encountered territorial packs of dogs on rural roads.
THE TEXAN
Combine painting—acrylic with superimposed mixed media elements and .38 Special Casings
30 x 24 in. (76.2 x 60.9 cm)
Encased within a saturated blue frame and set against a warm, expansive orange ground marked by faint linear divisions, the work creates a striking chromatic tension. The outer field evokes structure, almost architectural or cartographic, while the inner panel functions as a contained space, a site of focus and preservation. This layered construction Also observed, four .38 special casings hold the sculpture to the canvas. This reinforces the idea of separation: object from context, symbol from function.
YOUR NUMBERS UP
Combine painting—acrylic with superimposed mixed media elements, and .38 Special Casings.
24 x 24 in. (60.9 x 60.9 cm)
The structure suggests the fragmented anatomy of a firearm; yet upon closer inspection, its articulated components and jointed extensions begin to resemble a human figure—arms bent, body angled, as if caught mid-motion or suspended in a moment of mechanical choreography. Also observed, four .38 Special casings hold the sculpture to the canvas. This ambiguity between weapon and body collapses distinctions between tool and user, implicating both within the same constructed form. Surrounding the central figure is a constellation of numbers scattered, overlapping, and partially obscured alluding to systems of counting, indexing, and chance.
GOT YOU COVERED
Combine painting—acrylic with superimposed mixed media elements and six .38 Special Casings.
36 x 24 in. (91.4 x 60.9 cm)
Got You Covered presents a restrained yet materially complex diptych in which two ghosted firearm forms emerge from layered, translucent grounds. The upper panel, supported by the six .38 Special casings, reveals a diffused handgun silhouette embedded within a warm, mottled field of reds and yellows, its edges softened to the point of near dissolution. Below, a second firearm appears more legible against a deep blue ground, though still partially obscured—its form slipping between presence and erasure. This vertical pairing creates a dialogue between clarity and ambiguity, as if the image is being alternately revealed and suppressed.
WATCH OUT
Acrylic and mixed media on glass on canvas, .38 Special Casings, and incorporating aspects of horology and sculpture cohesively
30 x 10 in. (76.2 x 25.4 cm)
Through its integration of found mechanical elements and symbolic construction, Watch Out examines themes of time, awareness, and technological identity. The piece transforms disassembled objects into a singular visual entity that feels both playful and unsettling — a mechanical apparition assembled from the remnants of precision instruments, quietly observing the viewer from behind its fabricated gaze.
POP GUN
Acrylic and mixed media on canvas, incorporating resin, and embedded objects and .38 Special Casings.
24 x 18 in. (60.9 x 45.7 cm)
The juxtaposition between the softened firearm image and the intimate object of the pouch creates a tension between protection and vulnerability. Mounted using .38 Special casings, the work suggests the complex realities surrounding safety, autonomy, and self-preservation, particularly as they relate to women’s lived experiences. The handgun becomes less an object of force and more an emblem of concealed reassurance, fear, or necessity — something simultaneously hidden and emotionally charged.
CONCEALED KERRY
Acrylic and mixed media on canvas, incorporating resin and .38 Special Casings.
30 x 24 in. (76.2 x 61 cm)
Through its fusion of hieroglyphic aesthetics, geometric abstraction, and symbolic figuration, Concealed Kerry exists between artifact and apparition, balancing modern cultural tension with the timeless visual language of myth, ritual, and encoded identity. The elongated central form recalls the visual structure of ancient Egyptian hieroglyphics or ceremonial relief carvings, being held up by .38 special casings. Suspended beneath a translucent surface and framed by rigid geometric borders, the figure appears artifact-like — as though excavated from an imagined archaeological context. This presentation transforms the subject from a contemporary object into something symbolic and timeless, suggesting the way societies encode power, identity, gender, and violence into visual language across generations.
INFERNO
Acrylic and mixed media on canvas, resin encased sculpture and .38 Special Casings.
24 x 24 in. (60.9 x 60.9
Inferno presents an atmosphere of heat, transformation, and intensity . The dominant red palette recalls fire, molten metal, warning signals, and industrial hazard imagery, while the darker surrounding fields introduce depth and visual weight. Together, these elements create a composition that feels both mechanical and visceral — suspended between engineered precision and turbulent dissolution.
BOOTLEGGERS POINT
Combine painting-acrylic and mixed media with elements of pop art; mounted through canvas to frame using .38 Special Casings as rivets..
36 x 24 in. (91.4 x 60.9 cm)
Bootlegger’s Point transports viewers to the Northern New York border where bootleggers once risked everything to smuggle Canadian whiskey into the United States during the Prohibition at Bootlegger’s Point. The surrounding field erupts with angular geometric forms in vibrant reds, oranges, yellows, blues, and blacks. These fractured planes create a sense of energy and movement, their intersecting lines recalling roads, waterways, and unseen routes converging toward a single destination. The luminous yellow network that threads throughout the composition acts as both connective tissue and directional force, guiding the viewer’s eye through the painting while reinforcing themes of passage and pursuit.
BORN TO RIDE
Combine painting-acrylic and mixed media with elements of pop art; mounted through canvas to frame using .38 Special Casings as rivets.
30 x 24 in. (76.2 x 61 cm)
The striking, high-end mixed media artwork merges the raw energy of American motorcycle culture with bold pop art aesthetics. A clock bell acts as a brilliant focal point drawing the viewer in. In Born to Ride, the familiar silhouette of a motorcycle is transformed into a dynamic abstract composition where speed, freedom, and mechanical ingenuity converge. Angular planes of color intersect and overlap within the machine’s profile, creating a sense of motion even in stillness. The motorcycle emerges from a network of geometric forms, its contours simultaneously concealed and revealed through layers of line, shape, and transparency.