The unique works in this exibit include pieces which convey philosophical and spiritual examinations through the combination of found objects imbued with science elements including samples of the oldest life form on earth, lenses which project 3 dimentional images, inorganic "specimins" in fluid and fiber optic projections within meticulously fashioned sculptural frameworks.

This is the newest piece in the Noumenon series. Please have a look at the descriptions for Noumenon and for Noumenon Objectifying in Four Parts… And with that in mind…I began to really understand the concept of “increasing your awareness” so often recited at places where one can take yoga classes or eat vegan dishes. Some phrases are funny like that. Righteous, poetic, but not really hitting home so often.

Simplify Steve. I’ve found that the simple act of quietly watching my own thoughts, or better, the feelings that they bring on, and letting them be without more thinking, judging or trying to eliminate brought that word to a heart felt definition. Emotional chaos would begin to dissolve having had its say. Alas, pure awareness and its timeless magic.

The small tentacle cluster in the lower glass chamber are those ideas waiting their turn in the incubator in an endless succession to become the pair at the front of the piece. These tentacles I seem to be so fond of all represent the reaching out egoic manifestation brought on by thinking.

The Vagus nerve runs from the brain through the center of the body and is responsible for many emotional reactions we experience when faced with various situations. Heart and respiration rates, peristalsis, and sweating among other systems are regulated through this nerve. The movement of thought is the instigator of happiness, worry, desire and other reactions that define emotion.

The central lens of this piece contains an image of a beautiful woman whose face emerges from obscurity and fades again in intervals not unlike Dorothy’s experience in the crystal ball scenes of The Wizard of Oz. This woman, an ex lover and friend, still, is someone through which my emotional landscape for many years had been shaped. Both the highs of elation and the lows of worry and despair traveled that unblockable neural path as thoughts of her, like the image in the lens, moved in and out of focus.

The tentacles, gauges and emblem have their significance as condition indicators and instigators relative to this idea.

These small sculptures were made specifically to be taken into outer space to the International Space Station by soon to be astronaut, Richard Garriott, the legendary on line and video game entrepreneur and explorer. Richard has been a collector of my work for several years and when I heard about his trip into orbit, I contacted him and approached him with the idea of taking some art into space. Richard was delighted and we began a collaboration that will include the first, in space art exhibition with these pieces and the work of several others aboard the space station.

Garriott and his father, former shuttle astronaut, Owen Garriott donated locks of their hair to be sealed in the memento chambers, roughly inspired by the memento mori lockets of the 19th century which contain the hair of loved ones who have died or gone abroad. Initially I was hoping to use blood as I had before in the Blood Reliquary Series, however the space agencies policies make it difficult to use possible pathogen carrying or other space hazardous materials such as glues or plastics that could off-gas or deteriorate.

Garriott will be flying aboard the Russian Soyuz spacecraft this fall to the International Space Station as a client of Space Adventures. Visit his webpage and blogg: richardinspace.com to follow this exciting adventure.

The Bodhisattva Settee was created for The Chair Project, a fundraiser and experiment fathomed by sculptor Damian Priour in conjunction with the Austin Museum of Art. 100 artists were sent unique miniature chairs sculped by Priour in his signature limestone and glass style. Each artist was asked for a small original chair in return. Priours resulting collection will be shown at the museum and plans for a tour to other regional museums is in the works (as of 2007). Eventually the chairs from a second national invitational will be auctioned and the proceeds used to benefit selected art and environmental projects. Go to: http://www.thechairproject.net/ for more.

Bodhisattva in the Hindu tradition is simply one who is diligently seeking enlightenment. Sometimes though, even an enlightened being, Matreya the messiah, for instance is given the title. By revisiting some recent and older themes Ive designed this resting place for such a one. Have a look at "Noumenon Objectifying in Four Parts" from 2005 and also at "Navagating the Course of Existence" (for 2 and 4) from 1994, "Healer Destroyer" from 94 or "The Heart The Soul" from 1992.

I've included an image showing the brass before the patina was applied...difficult decision.

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The infinite source of all things when given a name may be referred to in title case as, Brahman, the Absolute, God, Awareness, Universal Self, the Tao, or Infinity, (among others), and my favorite, Noumenon, as often referenced by the living sage, Ramesh Balsekar. He and countless other teachers have for centuries expressed the ultimate truth that pure unaffected Awareness is the true Self where-in lies peace and bliss, where the present moment is all there is. To find this Self and Source is to remove everything else; the ego, composed of thoughts and all phenomenal conceptualization.


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I developed this lens for the Noumenon pieces by accident while looking for a way to emulate the effect of endless darkness. Bright reflections will appear to come out of the lens as if floating just in front of the glass. The effect is especially pronounced when a laser is directed into the window, here, a beautiful spider web of geometry appears and will contort and twist with any movement of the beam. The tiny dot of the laser reflection appears to float out in front of the windows. I will try to get some pictures with the green laser soon; these pics are just with a flashlight.

For years I had been wanting to do a piece that would incorporate some form of life which might be able to survive for very long periods of time within an enclosed environment. The ideas to use lichen or spores came up among others. After doing some research on the net I found news about the discovery of a salt crystal pulled from a salt mine in New Mexico containing the oldest living thing ever found on the planet. In 2000 a colony of bacteria, 250 million years old, (250 MYA) was released from its dormant suspension, was successfully reanimated and began to multiply. I contacted Dr. Russell Vreeland and his associate Dr. William Rosenzweig of West Chester University in West Chester, Pennsylvania; the biologists who discovered the one of a kind, three inch diameter crystal. To my delight and surprise, they were happy to donate a few small chips from the historic crystal and generous amounts of cloned samples from the original as well as 250 and 412 million year old samples from other locations with DNA content and moderate potential for life. A sample with 22-year-old bacteria from Baja Mexico is in the fifth window and the sixth is the empty cage in the zoo. The amazing ancient bacterial life form asleep behind the first window was given the simple name of 2-9-3

Link to CNN article about the discovery: http://archives.cnn.com/2000/NATURE/10/18/oldest.microbe/index.html

A recurring dream of mine places me along the banks of various waterways usually with houses or buildings lining the shore. I set out in a canoe into Lake Austin to look for accurate representations among the older neighborhoods that front the back creeks and canals of the lake. The 35mm slide images are amazingly true to the dreams they depict and the viewing mechanism (a glass, museum gift shop, fiber-optic ball, painstakingly sawed in half) adds to the dream effect while producing a very unusual and impressionistic three- dimensional view of the landscape.

Blue green electroluminescent night light filaments are placed behind each scene. The black phenolic and brass frames were cut and designed to fit around the found objects.

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The concept of Noumenon as the ultimate Source of all things is paralleled in the Buddhist tradition in the Tao and within the Hindu and Judeo/Christian religions as Brahman and God respectively. (See artist notes for “Noumenon”). When the resting pure Awareness of this Source becomes active thru the object/subject conceptualization of a living being, as commonly through the thoughts and actions of humans, then a new entity believing itself separate from the Source is activated called the ego. This tentacle out of nothing has come out to feel around, to play, what the Hindu call Maya; the game of the Universal Mind, and what the Buddhists call suffering. In the search to find itself again and having separated itself into subject and object, various names and shapes are assigned this place it must return to. From here we derive the variety of Gods and deities that rule the imaginary world.


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I developed this lens for the Noumenon pieces by accident while looking for a way to emulate the effect of endless darkness. Bright reflections will appear to come out of the lens as if floating just in front of the glass. The effect is especially pronounced when a laser is directed into the window, here, a beautiful spider web of geometry appears and will contort and twist with any movement of the beam. The tiny dot of the laser reflection appears to float out in front of the windows.

The blood reliquaries are preserved, human blood specimens placed within sculptural chambers; suggestive of the relics and reliquaries found in diverse religious traditions. The blood is collected from myself, my family, friends and special acquaintances who have had a marked impact on my life or the lives of others. They are monuments to the spiritual and social characteristics of the people whose blood they include. For me, they generate impressions about importance, immortality, posterity, conservation, genetics, fear, love, influence and enlightenment.

Each chamber window; housing several millimeters of blood, is made from two sheets of 1/4" plate glass, double sealed with silicone in an aluminum frame and further protected in front by another piece of 1/4" plate. All blood was screened for disease and treated with formalin and EDTA. Each reliquary is embellished with an inscription engraved into a plate describing attributes learned from the person memorialized in the work, along with the year that the blood was collected. An edition of ten small reliquaries housing my own blood is also included in the series.

Created for the Mexic-arte Museum in Austin. Aluminum sheets were given to artists who were asked to make retablos with them. I tortured and patinad my piece to resemble a strip of hide as referenced by the religion that inspired the retablo. Another was produced in 1996 as an acid etched relief of The Shroud of Turin.

While digging through the fossil pile at a local stone shop I noticed a distinct bearded face in one particular trilobite. The head is covered in a cloth with a band around the forehead. There were no voices however, but an obvious miracle of this kind needed, (of course,) to be enshrined, and so it was.

This peice was created in 1985 and modified in 1997. A new photo is on the way.

Some beautiful and otherworldly images can be created by partially erasing certain kinds of offset printed materials. Two full sets of postage stamps were done this way in 95 and 96 along with some larger images taken from art history books. Each stamp is mounted on a card and renamed in pencil on the front and comes in a protector. Slides from these series are available upon request.

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Bronze and marble mounts hold thick Pyrex tubes that contain deep hidden fears in the tradition of, Devils in Waiting, Bete Noir and The Insidious Beguiler among others. This began a new trend for me of producing work within a more cohesive series.


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This is the first time that I have kept a sculptural series within such a distinct format. All five are composed of the same materials and identical in design. Size and tentacle personality are the only distinguishing characteristics.

What are the five horrors? Whatever you don't want them to be. The same thing that's in room 101 in George Orwell's 1984. I was able to boil down all my fears into five basic categories... Huh? Sorry pal, no way.

Absolutely one of my favorite pieces. The squirrel mummy was found under my home. After preserving it with linseed oil, I made a plaster cast and a bronze from that with much help from Stevens Foundry. I added a hinge to that to cover the mummified body set into a black velvet impression. The inspiration coming of course from the funery masks and coffins of the early Egyptian Pharos. The majority of the sarcophagus casing is a modified door from an antique 35mm cinema film projector with added wood framework and objects. The documentary "Ulteriaphobia, The Art of Steve Brudniak" Has some footage of the process. The German translation for Zeitgeist is "time spirit."

A sister piece, Homologous Monstrosity #2 (Horn), (See below), was made from a clarinet section fused to a deer antler. These were intended to be the first in a series that involve the unlikely melding of dissimilar objects. They represent a significant departure from my other work wherein the objects are fitted together to look like some plausible thing. In this case, the objects obviously do not belong together.

An old jewelry case was re-upholstered and altered to accommodate the modified bottle. The centipede has become a symbol for and instigator of fear for my purposes. Bete noir, (black beast), is a literary metaphor for an unfounded dread.

Here is yet another demon that I've put on display. This tree-burrowing insect portrays the treacherous liar that lives inside. He is flanked on one side by a measuring gauge and above by the image of a Buddha. The latter being a comparator of truth and the other, a practitioner thereof.

Some beautiful and otherworldly images can be created by partially erasing certain kinds of offset printed materials. Two full sets of postage stamps were done this way in 95 and 96 along with some larger images taken from art history books. Each stamp is mounted on a card and renamed in pencil on the front and comes in a protector. Slides from these series are available upon request.

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I coined the word Ulteriaphobia to represent the fear of anything far or unseen, (ulterior). If you think about it, most fears are covered here. Allot of my work in recent years has dealt with variations on this theme. Ulteriaphobia was a culmination of these ideas and is a sort of altar to anxieties. The bronze handprints usually produce apprehension for anyone approaching them. Inevitably participants think they will be shocked or harmed in some way and are even surprised when in fact they are after touching them.

The viewers own eye stares back from a distance if one peers into the cavern near the top of the piece. The bottled centipedes, cracking concrete with emerging religious figures along with the chains and heavy industrial attachments are focal points for contemplating the nature of fears.


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Ulteriaphobia was produced as a finale to a series of ideas and techniques that have run as a thread through most of my work completed within the last ten years or so. Ulteriaphobia, the word, was conceived to describe the fear encompassing all things ulterior; hidden or foreign. If fear is a painful anticipation then all that we fear must be in the future and therefore away from us or hidden (ulterior). This work has risen out of my own attempts at remaining grounded in the sane present.

I will not spoil the fun and make many direct interpretations but you may take a hint or derive meaning from the following description:

In the outer panels saint-like figures emerge from cast concrete and two glass canisters each contain a once poisonous centipede. The viewer can see their own eye staring back from afar inside a drippy steel and concrete cavern at top. The bronze handprints have been introduced as a tool for the production of anxiety and as a therapy as well. The temptation to kneel and insert the hands is yet hindered by the lack of knowledge as to what may happen if... Do we not know that a phobia can't be erased until the source has been faced and fully experienced?

Steve Brudniak
September 1996

This small abyss was inspired by the cenote near the Mayan ruins of Chitchenitza. Sacred objects and the bodies of sacrifices were ritualistically thrown into the water of this beautiful sinkhole. I placed squirrel bones into this cenote and fill it with water regularly. It has since become an altar for my cat at home. It is one of my few outdoor applicable pieces.

Healer /Destroyer is yet another depiction of a concept that words don't describe well. So I have brought together several elements to make the point. The scorpion in green antifreeze is used as a fear element; similar to what I had been doing with centipedes earlier. The destructive aspects of fear are readily conceivable, although the healing results of fear are not so easily understood. The elements of God and time represented respectively by a small Hindu statuette and the clockworks express the idea more directly... Fear, God and Time are all fictions created by thought. To overcome them is to truly be healed. Destruction and resurrection meld. There just "is" instead. A place where Fear God and Time don't exist. To maintain them is to invite destruction.

The poor scorpion was obtained from a local pet shop. He looked to be the most unhappy one I could find in the selection; he kept trying to get out. I kept him for a few hours and set him on a rock in my birdbath. He cleaned himself contentedly then crawled under water and stayed there about five minutes. When he came up he had turned a gorgeous blue. It broke my evil scientist heart to put him in the fridge as suggested by my entomologist friend as the most humane death. After a while I became so distraught...I took him out hoping it wasn't too late. But of course it was... His little "martyrdom" has since kept me from killing any more creatures for art. Can we say that his destruction healed the insecticidal tendency within me?

The main framework is from an old barber pole, and the scorpion is inside an antique drip oilier used on old tractors.

April 19 2005

The idea of probing has so many interpretations. Here's a few that start with the letter S: seeking screwing, space craft, syringe. I had a lot of fun making the probes, (and coming up with the S thing). I did few technical or design sketches and instead let objects dictate the way each probe turned out. This enabled me to Zen out more than I normally could with more involved pieces needing a schematic.

I didn’t want the claw to be recognized as being from any particular animal. I was puzzled myself upon finding it, and wanting to convey the experience, painted the nail with black nail polish to further that condition and also to give it a human-like quality. The importance of a bottle and some preservative were also added. This is one of a series of two. The other is subtitled (Impending Biohazard).

Please contact us if there is a picture of this piece we can have or if some knows the owners name!

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From the show press release:

The Amuk Id Cathedral is a compilation of objects and recently completed sculptures by Austin artist Steve Brudniak, arranged as a mock cathedral within the gallery. Altars, relics baptismal and other paraphernalia become objects pertaining to spiritual and psychological dysfunction. The pieces incorporate kinetic and electric elements within an archaic design. In this context the cathedral becomes an institution for anxieties and latent conscious motivators. A confessional and hypnosis booth will be staffed by the artist after the opening and on Tuesdays from 7PM till 9PM.


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From the original installation proposal:

THE AMUK ID CATHEDRAL
An Institution by Steve Brudniak

The Amuk ID Cathedral is a compilation of objects and recent sculpture arranged as a mock cathedral within the gallery. Altars, relics, a baptismal and other paraphernalia represent an unconventional set of values and uses characterized by the psychological and spiritual reactions to any number of dilemmas. Much of the work is archaic in design and incorporates scientific elements. Pieces include kinetic and electrical devices. In this context, the Cathedral becomes an institution for anxieties and latent conscious motivators. The place where an out of control subconscious is the source of emotional dysfunction: An id run amuk.

The physical layout consists of the following five areas represented by walls or separate spaces if available.

THE HALL OF CHAMBERS: The pieces with containment devices and those with an altar-like design are here. Examples are: Devils in Waiting and Deus Ex Machina. (Please refer to slides)

THE HALL OF DIAGNOSTICS AND CONDITIONS holds such pieces as A Part with no Whole, describing such ills, and, The Game, which acts as an instrument for seeking direction.

THE HALL OF THERAPIES AND SACRAMENTS displays mock instruments of ritualistic and therapeutic cure. The Saturated Well of Baptism and Psycho-therapeutic Point are included here.

A CONFESSIONAL is installed consisting of two booths, each containing a chair and headset intercom for communication. Confessions will be taken by the artist on a posted schedule. Patrons will be invited to communicate openly about their recent state of consciousness. The roles of confession will be interchangeable, whereas both participants may vent as well as to offer counsel. Strangers are led instantly into intimate conversation by virtue of the circumstances. Patrons can staff both booths when the artist is away.

Hypnotherapy or hypnosis sessions will be performed by the artist for interested parties as an addition to confession through the use of the Instrument for Hypnosis. Most sessions will progress as positive visualizations for self-improvement, relaxation and entertainment common to hypnotherapy. The artist is an experienced, though unregistered hypnotist.

THE SANCTUARY OR MAIN AREA is the sum of the other four areas with an altarpiece at one end and the Gulf of Pandemonium near the other end. Candles with holders and other embellishments will be placed and a simple bench/pew is near the center. Lighting will be by tight spot and candlelight, keeping most of the gallery dark.

The concern is with need on the individual level unspecific to any certain problem. Anxiety as a pure thing is the issue as opposed to the myriad of epidemics plaguing the world, which merely act as catalysts to such fear.

From The Amuk Id Cathedral Installation proposal:

A confessional is installed consisting of two booths, each containing a chair and headset intercom for communication. Confessions will be taken by the artist on a posted schedule. Patrons will be invited to communicate openly about their recent state of consciousness. The roles of confession will be interchangeable, whereas both participants may vent as well as to offer counsel. Strangers are led instantly into intimate conversation by virtue of the circumstances. Patrons can staff both booths when the artist is away.

An internal gyro causes the disk to squirm when moved by the viewer thereby mocking the cause and effect scenario of a living body infected with a torrid mental state. The disk movement is fairly dramatic and powerful; producing various growling and humming sounds as it runs a timed cycle activated by the push of a button.

The pointed implement detaches from the mount. Originally used by Native American peoples as a device for correcting mental illness and driving out bad ghosts. Other points could be inserted for treating a variety of ailments. (If we had just left them alone...)

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A concrete and steel object construction made from a safe door, a wall heater and other objects. Motor oil in the top chamber broadcasts the crackling of blank radio reception. The dragon tail in the oil hangs by a chain from the ceiling.


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The Latin, (for those of you...), roughly translated is, "a God from a machine." much of my work is derived from the dogmas and accouterments of religion and philosophy. You may recognize a resemblance here to the biblical, Arc of the Covenant, which was used by the ancient Hebrews for, among other things, communicating directly with God. In this piece, a radio receiver concealed within, is set to a blank station. The faint sizzle of static and random frequency whistling indicate that the radio is on and anticipating a broadcast from Allah Jehovah. Some demon, (or is that a God), is being extracted (from yet another pool of black oil) at the end of a long chain emanating from heaven.

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A cast stucco construction on a wood frame supports a safe door portal with a second smaller safe opening set inside in concrete and filled with motor oil to mock an abyss of black endlessness.


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This one was constructed around the portal of an ancient safe that I purchased from a local scrap yard. The central opening was from a second inner door found within the same safe. The surrounding structure is actually stuccoed concrete on a wooden frame. The illusion of a Hellhole into the earth was produced by filling the inner chamber with black oil. Heavy construction and a thick chain issuing from the abyss hint at the danger deep within.

Large numbers of flies, (I've seen close to 100 at a time), will gather in and around the arena when an attractant such as banana paste is set in the center cavity. Totally amazing interactions occur between the flies and with other insects. There is a certain wasp that I have dubbed The Fly Lion that will attack within the arena, as in some gladiator drama, carrying off and eating up the slower flies. A sterno-fueled flame may be substituted in the arena for the non-nature lover.

The amazing ferro fluid is a recent discovery consisting of oil impregnated with minute iron oxide particles; the properties of which allow the fluid to react to a magnetic field in many unique ways. In this application it plays the role of baptismal holy water so saturated that it has become black and alive with the sins that it has absorbed; the likely scenario in my opinion, were such a concept possible. The notion of removing ones shortcomings with holy water is to me as absurd as learning to read by sleeping with a book under your pillow.

SB 2006

Having been working quite a bit with concrete for the past few years, I decided to test my skills in that manner exclusively. The surfaces are rendered in cast concrete. Cracks are added before curing in most cases. After curing, the surface is treated with acid and stained using concentrated instant tea, mustard and acid among other colorants. The cold, hard, barren and uncared for surface represents for me the bottom end of security and comfort. Be it garbage or humanity; a common place to find the unwanted is, of course, the street. My own experience with this concept began with separation from my mother at birth. Modern psychology dictates that such experience carries over into future relations, but lets not go there.

As the compass is moved across the board, the needle changes to indicate the next move. The player directs the compass to the edge position indicated by the needle. Most positions will point the needle toward the inside of the board, however at a certain point in the game, the needle will point away and out of the game. The player is thus 'out' and has won. This piece parallels the message of the Inutile Instrument series by illustrating the futility of our daily exertions and decisions.

Not long after purchasing this piece Texas collector Joe Diaz spoke to me concerned about the consequences of breaking it and spilling the mercury in his living room, and that if the piece was jolted, couldn't the marble crack the glass? I explained that the toxic vapor of mercury is well known as a health danger and that clean up of the gravity-hungry liquid metal would present quite problem especially if it made its way into the carpet and through the cracks in the floor etc. It was then that he realized the significance of the title and how truly irresponsible I am.

The mechanism on top is a small viewing screen that projects a picture of a man, (Dr. Cyclops, from an 8mm film frame from the movie), looking at his hand as if to say, "What am I?" This image is connected through the complex machinery to the gangly creature, which is doing all the thinking and yet is unaware of its existence inside a bottle.

Many of my sculptures act as metaphors for internal struggles and issues. Inner demons wait: preserved and fresh inside the aging chambers of our bodies though they may be long forgotten.

As with devils in waiting, the issues of internal struggle are addressed. This time, however, in the symbolic search for lost innocence and untainted awe.

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LED lights in the rock refract through fiber optic lines back to the suitcase view screen. The stranded ends are spread out and imbedded in clear acrylic to form star-like matrix in the screen. Light patterns can be changed and adjusted with controls in the suitcase apparatus. The rock was found in an Austin creek bed and inspired this idea with its brain-like appearance. The absurd notion of extracting memories from a stone is balanced by the fantasy: What if this chunk could somehow document and store the history of its billion or so year existence.


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Instructions:
Turn the large outer dial in the case to change light combinations in the stone. The inner dial affects brightness.
Fiber optics carry the light from the rock to the screen in the case.
The white button causes the meter to move.

Excerpt from, "Texas: 150 Works from the Museum of Fine Arts, Houston" Alison de Lima Greene

Divining Implements For Prophets Messiahs And Physicians represent quackery at the personal level. The parts are condition indicators, magnifiers and reflectors. They are the self-deceptions, knivings and manipulations gone through to insure specific desired outcomes in the future. Lies, people pleasing, spying impersonating, brownnosing, codependency, enabling, premeditated conversation, flattery, ladder climbing, idolatry, incantations, and worthless repentances, to name a few. All normal human responses to fear and need. I look for a cure. I look for love and truth, I look for the future. I am a physician, a messiah and a prophet, and therefore I need a set of tools.

Brudniak

This loose knit series of useless instruments, as the title suggests, began in 1989 with, Inutile Instrument #1, Inutime, and Self Registering Instrument and has since grown to loosely include other work. We can let pieces like The Reality Comparator and the Paradox Box or Instrument for the Translation of Paleographic Memory be included or maybe even say, Instrument for Spanking .... but that seems a bit too utile. Look around through the site. You decide.

A hand held light compares the hologram of a camera lens to the actual lens it was made from. I was fortunate in being granted access to the holography studio at the Anthony foundation in Houston (conceived in the early eighties as a venue for bringing art and science together) as a test student there, I made this; my first and only hologram. Because of it's nature the hologram seems to give the image more presence than that of the actual object. Some have used a holography model to explain the makeup of reality and or to hint at the possibility that everything is just an illusion and therefore void of comparability.

A switch activates a pulsing alarm and meter to warn of impending punishment. The paddle lifts from the hook and we're ready! Convenience, pain....

The sculpture was hidden in a public place in 1993, effectively finishing the work. The peice is actually for sale and the future owner, sworn to secrecy, will be given the location and its meaning. There is currently no photo available.

This was my first cohesive series and sprung from a long held love of archeology. As a kid I would bury things in the yard and attempt to find them again months later. The thrill of finding a pristine Indian arrowhead at the beach might have sparked it all when I was about nine. The series is another "what if" investigation as in, Section of a 21st century Ice Age Recurrence, or, Circa 2007 Partially Restored Smith And Wesson PL 66 Particle Beam Accelerator Weapon.

SB 2006