Mythology of Stasis
2002
tempera and casein on constructed wood box; fire ravaged Masonite from the burned ruins (2001) of Paul Molinelli’s home in Vermont; rusted nails hammered into glacier area of discarded landscape painting (signed front); mustard seeds between layers of glass; eye wash cup, and mercury, glass globe.
27.5 x 23.25 x 4.5 inches

Empty Set
2002
tempera and casein on constructed wood box; casein over roots and branches, unearthed from a dried-up reservoir, Stamford, CT; discarded landscape painting on ceramic tile (signed verso); and mustard seeds between layers of glass with French pot glass.
18.875 x 22.375 x 4.5 inches

Renaissance for Pedestrian Beauty [recto]
2001
recto: tempera and casein on constructed wood box with Masonite from the burned ruins of Paul Molinelli’s home in Vermont, hand ground paints and gold leaf on parchment—calf skin vellum taken from the area near the right side of the pelvis (parchment imagery adapted from Primo Maestro’s, La Porta Bronzea Di San Zeno, bronze door bas-relief, ”Sacrificio di Isacco,” Verona, Italy, painted between 1995 -2001), and blue glass eye wash cup; verso: tempera and casein on constructed wood box, oil on linen—framed by embroidery hoops (image adapted from Giovanni di Paolo’s “Expulsion from Paradise”), gesso and watercolor on vines, and text reprinted from Alexander Baumgarten’s, “Aesthetica” in brass frame
13.375 x 20.375 x 3.25 inches

Renaissance for Pedestrian Beauty [verso]
2001
verso: tempera and casein on constructed wood box, oil on linen—framed by embroidery hoops (image adapted from Giovanni di Paolo’s “Expulsion from Paradise”), gesso and watercolor on vines, and text reprinted from Alexander Baumgarten’s, “Aesthetica” in brass frame
13.375 x 20.375 x 3.25 inches

The Assumption: Mystery of Alignment II
1987 + 2000
bookplate, acrylic, charcoal and watercolor on Italian letter (c.1880), gesso and watercolor over lead toy trees, tempera and casein on constructed wood box, discarded wood, museum glass, antique clay marbles, and Italian playing cards (that fell from the sky—thrown by children—during a trip to a Sicilian antique store in search of Italian playing cards)
13.125 x 19.5 x 4 inches

The Assumption: Mystery of Alignment I
1987 + 1999
sealing wax, ball bearings, bookplate, and watercolor on Italian letter (c.1880), constructed wood box, discarded wood, glass and Italian playing cards (that fell from the sky—thrown by children—during a trip to a Sicilian antique store in search of Italian playing cards)
13.125 x 19.5 x 4 inches

Abulic Terrain: Affecting Currents
2000
constructed wood box, old paint-chipped wood unearthed after second bucket-loader scoop dumped it's contents at local dump while the artist was in search of green-paint-chipped wood; anonymous painting c. 1900, found in Maine antique shop; cobalt glass eyewash cup (purchased on route to deliver the artist’s boxed constructions requested for inclusion in the exhibition “Memory Boxes,” Lebanon, PA), casein on wood form, root (harvested at a dried up reservoir near Stamford, CT, the day before the artist’s spouse, Talin Megherian’s water broke and four days before she went into labor with their son Noah), mustard seeds, India ink on snakeskin given to the artist by Olivia Tow (a 2nd grade student at the Mead School, of Stamford, CT, who serendipitously brought a snakeskin to school on the day the artist had requested one from Olivia’s science teacher who did not have one), Museum Glass
23.375 x 24.25 x 5.5 inches