Medium: Welded steel, found objects
Dimensions: 28.5 × 8 × 8 in.
With its totemic stance and stacked geometry, Queen evokes the visual rhythms of African tribal artifacts — ceremonial, symbolic, and saturated with presence. Machined steel elements are recontextualized into a figure of quiet power, stripped of ornament but rich in suggestion. The upright form recalls a standing effigy or ancestral staff, exuding reverence and order. Though composed of industrial remnants, Queen transcends utility, becoming an emblem of matriarchal authority — grounded, enigmatic, and enduring.Artist Statement
I work with materials that have already lived a life — steel that’s rusted, bent, scarred. These imperfections hold a kind of quiet beauty, one that speaks not of utility but of presence. Though my work sometimes carries figurative echoes, I’m drawn to the non-figurative: the essential, the raw. Steel, once loud and forceful in its industrial context, becomes still and intimate in this new form.
Each composition emerges through direct interaction with found parts. I rarely alter the materials beyond what is necessary. Instead, I allow them to dictate form — interlocking, balancing, and aligning until their relationship feels complete. The process is intuitive, the engineering elemental.
Art, for me, is a spiritual act — a practice of selflessness and stillness. It doesn't seek acclaim or commercial appeal. It simply exists, honest and sacred.
Scott Gordon (b. 1966, Ridgewood, NJ) lives and works in Vermont. After studying business at the University of Denver and beginning an MFA in Creative Writing at the University of Washington, he found his ambitions shifting in a new direction. During this time in Seattle, he worked at the David Gulassa Company, a fabrication shop specializing in custom furniture and architectural fixtures. There, he began sculpting with scrap metal salvaged from the studio and surrounding industrial zones — material that continues to define his practice.
Gordon’s work reflects a deep respect for process, material memory, and the integrity of form. Influenced by artists such as David Smith, Anthony Caro, and Richard Stankiewicz, his sculptures explore the tension between strength and stillness, construction and poetry.
Medium: Welded steel, found objects
Dimensions: 28.5 × 8 × 8 in.
With its totemic stance and stacked geometry, Queen evokes the visual rhythms of African tribal artifacts — ceremonial, symbolic, and saturated with presence. Machined steel elements are recontextualized into a figure of quiet power, stripped of ornament but rich in suggestion. The upright form recalls a standing effigy or ancestral staff, exuding reverence and order. Though composed of industrial remnants, Queen transcends utility, becoming an emblem of matriarchal authority — grounded, enigmatic, and enduring.Artist Statement
I work with materials that have already lived a life — steel that’s rusted, bent, scarred. These imperfections hold a kind of quiet beauty, one that speaks not of utility but of presence. Though my work sometimes carries figurative echoes, I’m drawn to the non-figurative: the essential, the raw. Steel, once loud and forceful in its industrial context, becomes still and intimate in this new form.
Each composition emerges through direct interaction with found parts. I rarely alter the materials beyond what is necessary. Instead, I allow them to dictate form — interlocking, balancing, and aligning until their relationship feels complete. The process is intuitive, the engineering elemental.
Art, for me, is a spiritual act — a practice of selflessness and stillness. It doesn't seek acclaim or commercial appeal. It simply exists, honest and sacred.
Scott Gordon (b. 1966, Ridgewood, NJ) lives and works in Vermont. After studying business at the University of Denver and beginning an MFA in Creative Writing at the University of Washington, he found his ambitions shifting in a new direction. During this time in Seattle, he worked at the David Gulassa Company, a fabrication shop specializing in custom furniture and architectural fixtures. There, he began sculpting with scrap metal salvaged from the studio and surrounding industrial zones — material that continues to define his practice.
Gordon’s work reflects a deep respect for process, material memory, and the integrity of form. Influenced by artists such as David Smith, Anthony Caro, and Richard Stankiewicz, his sculptures explore the tension between strength and stillness, construction and poetry.
