Category Archives: OTHER ARTWORK



My replica of the 1st-century A.D. marble relief from Roman Libya, Three Dancing Nymphs, is shown above on the first day of its installation at the Frank Lloyd Wright Hollyhock House in Hollywood, California.

The Hollyhock House was Wright’s first project in Los Angeles; it is now a museum and a candidate for designation as a UNESCO World Heritage Site. The original marble relief was the most important piece in the Hollyhock House’s original owner’s art collection, and was the last major feature missing from the house’s recent restoration back to its original 1920s decor—in the photo below, the photograph in the upper right corner from the 1920s is one of the few references showing where the original was located. Now that it is on permanent display in the loggia, my replica will be the first thing to greet museum visitors.

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20140820G TIBM Cover Art_mediumres

I designed the cover of the 10th anniversary e-book edition of Brian Doherty’s history of Burning Man, This is Burning Man: The Rise of a New American Underground.

I used a copyright-free image of cracked desert floor, and superimposed the partial ring shape of the Burning Man festival map as though it were sunlight focused by a magnifying glass.



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Portraits of a Child I & II

I scanned two privately held, traditional busts of children and remixed them with two powerful, otherworldy, and futuristic sculptures I admire: Constantin Brancusi’s 1910 Sleeping Muse at the Met, and Jacob Epstein’s 1915 Portrait of Iris Beerbohm Tree at Tate Britain.

Once the busts of the children were scanned, I digitally edited them to incorporate features and styling from the century-old museum pieces, which I modeled by eye from photo references. I 3D printed the results in plastic and finished them in bright and patinated brass.

I’m not sure what it says about my own perception, or about the current (stale?) state of science fiction imagery, but the futuristic iconography that most resonates with me is from futures conceived long ago. William Gibson giving up on predicting the future comes to mind, and fits into the picture somehow. I also think of Disneyland restyling Tomorrowland, moving away from a 1960s brute-force engineered future, and toward hundred-year-old Jules Vernesque fantasy imagery.

In any case, the surreal, Promethean spread of creative power via easy 3D scanning and printing hints at very cool, unpredictable things to come.


Life-size 3D Printed Portrait

My client asked for a life-sized 3D printed portrait of a colleague. Because the portrait was to be a surprise gift, there was no opportunity to scan the subject. The piece had to be modeled from photos of him culled from the web.

I proposed a bust, roughly from the shoulders up, with classical allusions, but I was vague about the details beyond that. The final design references the Artemision Bronze, Leighton’s An Athlete Wrestling with a Python at Tate Britain, and a few pop culture sources.

I took a risk and bet that they’d like something other than a standard chairman-of-the-board type treatment. And what’s the point of having rock & roll hair if you aren’t going to do the whole heroic barbarian-warrior-champion-god thing when you have your life-size 3D printed portrait done?

This is the result.

This kind of remixing is just one small reason the world’s back catalog of public domain sculptural artwork should be digitized and published, freely, and without restriction. More on that front soon…

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Ecstasy by Eric Gill in bronze by Cosmo Wenman_close crop_reduced

Eric Gill, ‘Ecstasy’, 1910-1

I captured Gill’s 1910 limestone Ecstasy at Tate Britain in August 2012, and have cast it in bright bronze, 21 inches tall.

See 3D Scanning, 3D Printing, Bronze Casting, and the Art of the Living Dead for its story.

Download the 3D printable model here:



The Physical Impossibility of Death in the Mind of Someone Living

Shark, glass, silicone, plastic, 1.5% Red Bull solution
30 x 15 x 20 cm

This original work is offered for sale directly from the artist’s studio, and will be delivered to the buyer by the artist himself (pending helipad proximity). Serious inquiries only, please.

Download the 3D printable model here:




I’m tinkering with ideas and images for possible presentation at LACMA. This is a comparison of people’s response to the original Venus de Milo in the Louvre to their response to my 3D captured, 3D printed copy at the 2013 Paris 3D Printshow. The show was in the Louvre expo space, so my print was just a couple hundred feet away from the original.

I’m thinking that the fact that so many people are viewing the original through screens and taking photos undercuts the argument that there’s some essential, ineffable, supernatural awe involved in seeing the original, when really what people want is interaction, touch, control, and possession, all of which they get by mediating their experience with cell phones and cameras (for now).

November 22, 2013



I’m working on ideas and images for a possible upcoming presentation to LACMA staff on 3D printing, 3D scanning, art, and museums. Here are photos of people at last week’s 3D Printshow in Paris responding to my 3D printed invention of Perikles’ helmet—a copy of an artifact that hasn’t been discovered and likely does not exist. Photos and touching allowed…

Novermber 22, 2013



Because when’s the next time I’m going to be alone, after hours at the Louvre, with Vangelisesque muzak playing on the PA system, with my 3D captured, 3D printed bronze-cast bootleg of a Matisse? I found a buyer too…

From “3D Printed Lost PLA Bronze Casting and the Art of the Living Dead

(Why does YouTube suggest “Nightmare” as a tag for this video?)