Jane’s Carousel

A wind-up music box featuring Jane’s Carousel along the Brooklyn Waterfront. When closed, the antique cigar box measures a mere 7 by 7 by 3 inches deep. When open, the Brooklyn Bridge and historic Jane’s Carousel fold out. The carousel spins to the tune of the music while the moon gently slides across the night sky. Materials: $4 cigar box, $5 wind-up music box, electrical wire (for trees), plastic lids for wheels, string (for motion), tape measure (for spring), tin foil (for water), and thick paper.

Jane’s Carousel with my hand and a pen for scale. Dimensions: 7 by 7 by 3 inches.


These sculptures made of paper, wire, and wood are powered by the wind. When placed before a light breeze, their pinwheels spin and power the sculptures’ cyclical movements. The bird will soar. The horseman will eternally charge forward, lance at the ready.

This series explores movement. Each sculpture physically and symbolically invokes the purity and lightness of moving elements.


Pinwheel is the simplest in this series. A light breeze spins a three-pronged pinwheel, which vibrates a wire. The following sculptures are variations on this mechanism.


In Ocean Voyage, the pinwheel gently rocks a sailing boat. Wind movement translates into wave movement.


Liberty explores the search for freedom. The pinwheel connects to a wire that flaps the dove’s white wings. Ironically, the dove flees from the source of its movement.


Similar to Liberty, Don Quixote’s Windmill explores the interplay between source and recipient of movement. The pinwheel powers the horse’s legs as it charges forward. Ironically, Don Quixote attacks the windmill that powers him.


In Cityscape two pinwheels power rows of zigzagging traffic. In this “snapshot” of urban life, movement is choreographed along mechanical lines. A black paper cutout contrasts the white sculpture, which is illuminated from beneath.


Time employs movement as a metaphor about life and death. A crank rotates a wheel and powers a walking skeleton. On the wheel, silhouettes of infant, child, worker, senior, cripple, and coffin symbolize the stages of life. While the skeleton depicts death, the wheel depicts continuity. In juxtaposition to the series, the human hand, not natural wind, moves the sculpture and completes the metaphor.

My Little Neighborhood

When I look at old pictures of my neighborhood, I realize how much of my city has disappeared in the past forty-some years. This sad trend will inevitably continue. If not in the form of my city’s physical destruction, then in the form of my gradual loss of childhood memories. To reconcile this sobering thought, I have constructed the below model as my very own souvenir. This keepsake will forever remind me of identity: Newark, NJ.


Newark Model Small

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New York in Miniature

The impressive range New York’s architecture, from the humblest home to the slenderest tower, powers my inspiration to create. I aim to capture my perceptions of bustling New York in this model. With a base measuring only 28 by 36 inches, I have built an intricate model replete with subway entrances, lampposts, and people. Whenever I glance at my tiny creation, I rejoice in knowing that my love of New York is within the breadth of my arms.

To see a short film about this model, click here view the video below.


NYC collage small



Paper Cutout Models

Unmanufactured Landscapes

Visiting China, I was shocked by the massive reach of globalization. On the train, I witnessed an endless treadmill of mile after mile of identical crops, villages, and cities. The polluted skies and downcast weather hinted at the relentless combine of economic growth. I swore to myself that such a sterile environment was fit for helpless ants.

Returning home, I earned greater appreciation for my own artistic creations. They seemed so much more innocent, smaller, and quainter. I had something independent of “the combine” I could call my own. No matter how much the volatile world changed, my art would forever remain the same, my Unmanufactured Landscapes locked in time.