If you’re in the business of marketing, then you’ve probably heard it before: personal branding is a game-changer. It can be a powerful tool for individuals and businesses alike, elevating your product and your message to new audiences. But, marketing your brand in a saturated space can be challenging. It’s imperative that you find the right company and the right strategy to help you stand out in a crowded market.

Artist and entrepreneur Dxtr Spits collaborated with social media expert Audrey Boyle to assemble an high-level team for men’s mental health business, How Men Cry (HMC). Dxtr envisioned HMC as a space to begin the conversation around men’s mental health so that men can start their healing journey, be that in therapy or another avenue. This small project started as a collection of art, but quickly grew and now has a powerful effect on audiences across the country. HMC continues to expand through Dxtr’s performance, facilitated workshops, and men’s retreats.

“How Men Cry came from the ashes of a failing relationship, personal issues with substance abuse, depression, and suicidal ideation,” Dxtr remembers. “When I performed some of the early spoken word pieces, I got to see firsthand how it was touching men’s hearts. I got to see myself in their eyes and vice versa.” Dxtr’s performances soon began garnering rave reviews from audiences who connected with his powerful message. The HMC team saw an opportunity to brand Dxtr Spits as an anti-hero spreading awareness for men’s mental health in a raw, open way that is accessible to men.

Today, How Men Cry is a powerful collective that is changing the narrative around men’s mental health and touching the hearts of thousands daily. Here, we’ll cover how HMC was able to use the five core components of personal branding to become bigger than Dxtr ever imagined.

1) Positioning

The first step in successful personal branding is positioning. To effectively position a brand, you need to define its foundation and added value. What niche will your brand occupy in the existing ecosystem? What value does your brand add? What fundamental problem are you trying to solve?

Artists are often the ones who inspire change and shift societal narratives. The HMC Team worked to position Dxtr Spits as the artist within the men’s mental health community, adding what called the “cherry flavor” to an ecosystem that was mostly populated by academics, practitioners, and other left-brain thinkers.

Dxtr’s powerful spoken word performances represented the “added value” of How Men Cry’s brand. His art sparked valuable conversations about men’s mental health and wellness—conversations that are vital and yet far too rare due to the stigma surrounding men’s mental health. How Men Cry made the idea of therapy digestible and the idea of being vulnerable less “taboo” for men.

Ultimately, How Men Cry was created to solve one problem, says Dxtr. “We wanted to make it easier for men to close the distance between wanting to start a healing journey and actually going to therapy. This pathway can be very difficult for many.”

2) Messaging

After defining your brand’s foundation and positioning, the next step in personal branding is messaging. What is the key message that supports your brand’s foundation? The HMC team advises that you should be able to summarize this message in 27-30 words.

The HMC team branded Dxtr Spits as the “anti-hero,” telling the story of a flawed individual on his journey to redemption. Dxtr has never been a perfect role model. He’s faced many challenges in his life, times when he failed and struggled. But he made the hero’s choice to start his journey towards mental health and healing.

How Men Cry’s messaging focused on using Dxtr’s journey to illustrate important truths about mental health and healing. Moments in his life illustrate that the process of healing isn’t linear, but a worthwhile journey.

Dxtr’s impactful yet relatable style and artwork was already making emotional vulnerability “cool” for men. ’s messaging plan leaned into that angle, working to bring all of How Men Cry’s design and content elements in line. Originally, the brand included intense colors like yellow, but these were changed to reflect the raw, gritty, and no-holds-barred nature of Dxtr’s life story and his art pieces. The team chose graffiti imagery, gray tones, and other calming colors to make the brand more appealing and soothing to men.

3) Brand Strategy

The third component of personal branding is building a brand strategy that incorporates and expands upon both the foundation and the messaging of the brand – all while keeping the larger goal of your work in mind.

For How Men Cry, the team had to consider how to communicate Dxtr’s anti-hero journey in a way that would help others understand their own journey better. Dxtr’s ultimate goal was to help men have vulnerable conversations and consider therapy as a tool for healing. just had to figure out how telling Dxtr’s story would translate into achieving that goal.

“When we started viewing How Men Cry as a movement and not just a collection of poems, ideas, and performances—that’s when everything changed,” notes Dxtr, who looks back on the early days of How Men Cry’s branding journey fondly. “We started applying marketing concepts and ’s business experience to use the power of images, videos, and words to push the message.”

The HMC Team developed a multi-faceted brand strategy for How Men Cry. First and foremost, the team brought all content—across the website, social media handles, and press engagements—in line with the messaging. The team created and shared a term sheet to ensure everyone was “speaking the same language” consistently. They looked for data and existing content that supported the idea that men’s mental health is a vital problem to solve, and made a plan to spread awareness.

Once your brand clearly defines what the “promised land” looks like for you, you can also start brainstorming what offerings and programs will get you there. In How Men Cry’s case, those offerings included a podcast allowing men to tell stories of vulnerability, new art pieces, and resources to bring communities of men together and spread the word.

4) Ecosystem

Next, consider the ecosystem in which your brand exists. It’s important to identify the influencers and stakeholders in your chosen niche. Who is invested in addressing the problem with you? Once you understand who is on your side, create a management strategy to build relationships with stakeholders and fans.

For How Men Cry, this meant connecting with the men who participated in the project by sharing their stories of vulnerability—dubbed “the HMCs” by and Dxtr. The HMC team helped Dxtr build and maintain connections to these stakeholders. In 2022, The team invited the HMCs to a men’s retreat where they explored what an anti-hero’s road to redemption might look like for each of them. As part of a community, they were able to open up, bond, and be vulnerable. To this day, the HMCs communicate daily through a group chat and hold monthly conversations with Dxtr. Many HMCs have become a resource to others in the community of men’s mental health, passing on How Men Cry’s vital message to new audiences, including a recent performance at the LinkedIn headquarters on the topic of men’s mental health.

As you consider where your personal brand stands in your ecosystem, a helpful exercise can be looking for the “superfan”—someone who engages with the brand, follows you on all platforms, gives you money, and supports the brand. Many existing brands aren’t clear enough on how their superfans can or should support them best. This journey has to be as simple and clear as possible. Make sure that your audience has clear avenues to engage and support you in a way that helps you reach your brand’s goal.

5) Action Plan

The fifth and final component of personal branding is the action plan. After establishing the brand positioning, messaging, strategy, and ecosystem, create a plan for continuous development. Your action plan should include specifications on who is responsible for the various components of the branding strategy.

As you begin creating content in line with your branding, ensure that every piece of content can be repurposed across many channels. Take the How Men Cry podcast as an example. Though each episode is published across all the usual podcast platforms, the content doesn’t end there. A video recording of an episode could be posted on YouTube. A transcript could be repurposed into a blog post. And clips or snippets of both can be used for social media posts and comments.

Lastly, once content is flowing and responses are coming in, use all the metrics and analytics available to you for continuous improvement. Examine what kinds of content garnered the best or most responses and what got through to the hearts and minds of your followers. Understanding what works, and what doesn’t, will help you expand on the brand’s foundation and amplify your message strategically.

Personal branding is a complex process that requires a solid foundation, messaging, strategy, ecosystem, and action plan. By finding your brand’s unique voice, understanding where your brand stands in the ecosystem, and tailoring your message, you can differentiate yourself from the competition while reaching a larger audience.

Though maintaining a strong personal brand is not easy, the benefits are worth the effort. Through events and retreats with both small businesses and larger Fortune 500 companies, HMC is changing corporate culture and the community at large.

“So many people check out How Men Cry through our website or social media handles. They often tell me that they’re left with the impression that the project is so much bigger than it actually is,” says Dxtr. “That’s the power of a solid brand foundation. Amplifying our message becomes the simplest thing in the world.”

Like many eager Notre Dame students, during the end of my freshman year, I worked to seek out ways in which I could have a greater impact on the Notre Dame community. I received an email from the Student Union Board in April of my freshman year inviting students to apply for their executive board, and with very little idea of what SUB was, I decided on a whim to apply to be the Director of Art. When I applied, I had so little idea of the immense impact that SUB would have on me and my experience at Notre Dame, and I am forever grateful that I decided to take a leap and apply to join.

The Student Union Board (SUB) is the event programming branch of Notre Dame’s Student Government. Our mission is to enhance the Notre Dame undergraduate experience through intentional and engaging programming. Throughout the year, we host a ton of different events to appeal to as many students as possible, whether it’s a stress-relieving midterms event, a fun tropical-themed giveaway in the depths of winter, our weekly Acousticafe where students have the chance to see their peers perform live music, or anything else we can dream of. We also host a few larger events, such as our annual concert (more on that later!) and Antostal, a week of a ton of activities available to all students. Think fun, think SUB!

As the Director of Art, my role was to oversee our graphic designers and to work with our committee chairs in order to ensure that all of our amazing events were being shared with students in engaging, creative ways. In this role, I was able to have my hands in all of the activities planned by SUB and strengthen my artistic and creative skills. As a Neuroscience major, my classes don’t always afford me the opportunity to be artistically creative. While contributing to projects that benefited the student body, I also learned effective marketing strategies, worked with incredibly talented event programmers to help make creative ideas come to life, and developed my leadership skills by managing and working with my incredible team of designers. Especially during a year dominated by COVID where students were looking for things to do to keep engaged, I was able to have a hand in ensuring that students’ Notre Dame experiences were always full of fun, enriching activities. I continued in my artistic role in SUB into my junior year as a designer before I studied abroad, and I was able to further develop my artistic abilities and work more directly with the event programmers to incorporate their incredible events into engaging art.

This past year, I had the opportunity to serve as SUB’s Concerts Committee Chair. Every year, SUB hosts artists on campus to perform a concert for undergraduate students, and my job as the committee chair was to work with my committee to choose a lineup that would appeal to as many students as possible, contacting music agents, and planning the concert. This year, we hosted Sound of SUB, a large-scale music festival with food, games, and incredible music. We had the opportunity to host Noah Kahan and Chelsea Cutler as our headliners, supported by Briscoe and three incredible student openers. Our committee worked all year to plan the festival with the goal of creating an event that would excite the student body. The festival itself sold out the Stepan Center on campus, and went incredibly smoothly thanks to the hard work of everybody in SUB. Through careful planning, long hours, and a massive team effort, many students got to create lifetime memories and have the time of their lives. 

I am not planning on pursuing a career in the music industry, but I have always loved attending concerts. Because of my involvement in SUB, I was able to pursue a passion project in a once-in-a-lifetime opportunity to create something to benefit the Notre Dame community. I have learned the value of working through difficult, long-term projects, and have a greater appreciation for the gratification that comes when you have put your all into an event. I had the opportunity to work with incredible students who deeply care about making Notre Dame a better, more engaging place. I am incredibly grateful for my time in SUB, and for the ways that it has made me a more creative person and a stronger leader (plus, who doesn’t love getting to meet their favorite artists?!). 

If you want to see what SUB is up to on campus, make sure to follow our Instagram @subnd !

What significant changes have you noticed in the last few years, and how has the pandemic impacted businesses and their reliance on technology?

The past few years have been quite the ride. The world as we knew it has changed, all thanks to the pandemic. It is forcing us to re-evaluate the way we live, work, and interact with one another. The most significant change in this phase is our reliance on technology. We’ve gone from face-to-face and in-person interactions to virtual ones, which have become the new norm. The silver lining is that technology has enabled us to work from anywhere, collaborate remotely, and continue our daily lives while maintaining social distancing.

This positive shift toward technology has created a significant demand for new technology solutions. Businesses and individuals seek ways to improve their digital capabilities and stay ahead of the curve. The product lifecycle has also significantly expanded, as staying current with the latest technology has become more critical than ever. If products don’t evolve and offer a fair share of value to the end users, they quickly become irrelevant.

The past few years have been a time of significant change and upheaval, and we’ve had to adapt quickly to navigate these challenges. However, with technology as our ally, we’ve persevered and continued our lives as best we can.

Customer data has become more valuable with the pandemic changing how customers interact. In light of this, how is your company leveraging customer data in the food and beverage industry?

The approach to leveraging customer data started years ago when vending machines sold nickel candy bars; we are now refining it with technology. We have always understood the importance of utilizing customer data to better understand their behavior and preferences. Currently, we analyze data surrounding ‘what time of day customers visit our restaurants or log into our app, as well as their buying behavior.’ Leaning on this information, we can tailor our interactions and deals to be more relevant to each customer, straying away from mass marketing and toward a personalized approach.

  ​We should constantly be looking for ways to innovate and stay ahead of the curve. We must keep leveraging new technologies and actively engage with and provide opportunities for the next generation of professionals in the tech space.

We aim to reach them at the right time with personalized deals and offers unique to their spending and frequency patterns rather than bombarding our customers with irrelevant messages and promotions. For instance, if a customer works a night shift and typically makes their lunchtime purchase at 4 PM, we can use this data to offer them an attuned deal that is more likely to be relevant and enticing to them. In the end, our goal is to provide the best possible experience to each customer and create a sense of loyalty through personalized engagement.

As a recognized leader and expert in your field, I am curious about what technologies you are excited about and looking forward to in the near future.

I don’t consider myself an innovation leader or industry expert, as I am also constantly learning and growing with technology. However, I am excited about the recent developments in AI technology, like Chat GPT and other chat-based models. Although there is wariness regarding the implementation of such solutions, they have a great potential to substantially improve efficiency and productivity in our day-to-day operations, which will lead to better results in projects and initiatives. Specifically, developing AI and ML in our industry is valuable in effectively communicating with customers and enhancing their overall experience.

As an ending note, what is your advice for other senior leaders and CXOs working in the food and beverages space? How can they extract the full potential of emerging technologies?

We should constantly look for ways to innovate and stay ahead of the curve. We must keep updating about new technologies and actively engage with and provide opportunities for the next generation of professionals in the tech space. This way, we can benefit significantly from the fresh perspectives and innovative ideas that young professionals bring. By involving them in our projects and initiatives, we can provide them with valuable experience and professional development opportunities and position ourselves to better understand and serve the needs and preferences of this growing demographic. In short, by opening up and collaborating with the youth, we can create a dynamic and innovative ecosystem in the tech space.

“We should constantly be looking for ways to innovate and stay ahead of the curve. We must keep leveraging new technologies and actively engage with and provide opportunities for the next generation of professionals in the tech space.”

What significant changes have you noticed in the last few years, and how has the pandemic impacted businesses and their reliance on technology?

The past few years have been quite the ride. The world as we knew it has changed, all thanks to the pandemic. It is forcing us to re-evaluate the way we live, work, and interact with one another. The most significant change in this phase is our reliance on technology. We’ve gone from face-to-face and in-person interactions to virtual ones, which have become the new norm. The silver lining is that technology has enabled us to work from anywhere, collaborate remotely, and continue our daily lives while maintaining social distancing.

This positive shift toward technology has created a significant demand for new technology solutions. Businesses and individuals seek ways to improve their digital capabilities and stay ahead of the curve. The product life cycle has also significantly expanded, as staying current with the latest technology has become more critical than ever. If products don’t evolve and offer a fair share of value to the end users, they quickly become irrelevant.

The past few years have been a time of significant change and upheaval, and we’ve had to adapt quickly to navigate these challenges. However, with technology as our ally, we’ve persevered and continued our lives as best we can.

Customer data has become more valuable with the pandemic changing how customers interact. In light of this, how is your company leveraging customer data in the food and beverage industry?

The approach to leveraging customer data started years ago when vending machines sold nickel candy bars; we are now refining it with technology. We have always understood the importance of utilising customer data to better understand their behaviour and preferences. Currently, we analyse data surrounding ‘what time of day customers visit our restaurants or log into our app, as well as their buying behaviour’. Leaning on this information, we can tailor our interactions and deals to be more relevant to each customer, straying away from mass marketing and toward a personalised approach.

We aim to reach them at the right time with personalised deals and offers unique to their spending and frequency patterns rather than bombarding our customers with irrelevant messages and promotions. For instance, if a customer works a night shift and typically makes their lunchtime purchase at 4pm, we can use this data to offer them an attuned deal that is more likely to be relevant and enticing to them. In the end, our goal is to provide the best possible experience to each customer and create a sense of loyalty through personalised engagement.

As a recognised leader and expert in your field, I am curious about what technologies you are excited about and looking forward to in the near future.
I don’t consider myself an innovation leader or industry expert, as I am also constantly learning and growing with technology. However, I am excited about the recent developments in AI technology, like Chat GPT and other chat-based models. Although there is wariness regarding the implementation of such solutions, they have a great potential to substantially improve efficiency and productivity in our day-to-day operations, which will lead to better results in projects and initiatives. Specifically, developing AI and ML in our industry is valuable in effectively communicating with customers and enhancing their overall experience.

As an ending note, what is your advice for other senior leaders and CXOs working in the food and beverages space? How can they extract the full potential of emerging technologies?

We should constantly look for ways to innovate and stay ahead of the curve. We must keep updating about new technologies and actively engage with and provide opportunities for the next generation of professionals in the tech space. This way, we can benefit significantly from the fresh perspectives and innovative ideas that young professionals bring. By involving them in our projects and initiatives, we can provide them with valuable experience and professional development opportunities and position ourselves to better understand and serve the needs and preferences of this growing demographic. In short, by opening up and collaborating with the youth, we can create a dynamic and innovative ecosystem in the tech space.

Penn’s Institute of Contemporary Art is hosting its annual ICA After Dark celebration on April 14 as part of its Student Week initiative. 

The student-takeover event, presented by the ICA Student Board, begins at 6 p.m. and ends at 9 p.m. The celebration revolves around the theme “Glow Up” and will feature tote bag screen printing, glow in the dark face paint, and student DJs. 

Founded in 1963, the ICA is part of Penn’s campus on 36th and Sansom streets and is governed under the Office of the Provost. ICA was founded to promote under-recognized artists in art and culture. 

The ICA Student Boardworks with the museum staff to connect Penn and the wider Philadelphia community to contemporary art. Board members also promote the ICA’s exhibitions, engage with artists and curators, and plan public events such as After Dark. 

“Having Penn students know that they have a place here in the ICA and have a voice, where they can talk to a curator if they’re interested in that field — it’s a resource we can all use,” College first year and Marketing Committee Chair Ivanna Dudych said. 

The After Dark event will be free to all Penn students and other Philadelphia undergraduates with a student ID.

“After Dark is a great way to get students involved in the current exhibitions and to feel a sense of autonomy in the galleries where they can just be themselves in a free space, listening to music and connecting with other people in the Philly area,” College junior and Professional Development Chair Emma Poveda said. “We’d really like to see connections fostered between Penn, PAFA [Pennsylvania Academy of Fine Arts], Drexel, Temple, and other institutions in the area.” 

Students at the event will also have after hours access to the current exhibitions Terence Nance: Swarm and Carolyn Lazard: Long Take. 

“The exhibitions on view right now are of great social relevance and also explore themes of fluidity in the surrounding environment,” Poveda said. “For students to be able to enact that process within themselves in the gallery is truly special.” 

After Dark completes the events of Student Week, which is the ICA’s joint programming with student organizations on campus, including the Orgullo Latino Fashion Association Fashion Show on April 7 and Paint Night with Monolith Arts Collective on April 13. The ICA Student Board members volunteer during all these events. 

“Student Week is about bringing together students across fields of contemporary art. After Dark wraps up that conversation,” Public Engagement Project Manager and Administrative Coordinator Brittany Clottey said. 

The ICA Student Board has been planning After Dark since the start of the semester. Board members are split into three different committees: programs and outreach, marketing & communications, and professional development. Students work together to plan both external and internal events, engage with the Penn community through creative content, and converse with professionals in the field through opportunities such as the “Ask an Arts Professional” series.

“It’s been really cool to see different creatives involved that are students taking initiative, from designing the flyers to students wanting to host a printmaking workshop,” Clottey said.

The ICA Student Board hopes that Student Week will strengthen the relationship between the Penn community and ICA. 

“I live right across the street from the ICA, and I didn’t know about it until I joined [Student Board],” Dudych said. “We hope this event keeps the ICA on people’s radar.”

Assorted ramblings from the world of entertainment:

• The Butler Institute of American Art will unveil its Vincent & Phyllis Bacon Grand Gallery this weekend, and the man who designed those walls also will have art hanging on them.

Coinciding with the unveiling is a watercolor exhibition by C. Robert Buchanan, who is the architect responsible for many of the expansion projects at the Youngstown museum, including the Bacon Grand Gallery.

According to Buchanan, “I paint for the pleasure of it. I like to pick a subject or object and develop a design with color and composition. There’s no scholarly approach to it, just plain enjoyment.”

Louis A. Zona, executive director of the Butler, called Buchanan, “One of the most talented individuals to hold a paint brush or handle a T-square.”

Buchanan’s watercolors will be on display in Butler North through July 2.

• Metallica certainly isn’t my favorite band, but it may have supplanted KISS and the Grateful Dead as the smartest one.

While the latter two bands have radically different sounds, both were / are masters of marketing their brand. Metallica made a couple announcements recently that show James Hetfield, Lars Ulrich, Kirk Hammett and Robert Trujillo also are forward thinkers when it comes to controlling and expanding their market.

Last month, Metallica announced it was buying Furnace Record Pressing, a record plant in Alexandia, Va. Vinyl is the one area where physical media sales are improving, and demand outpaces current production capacity.

Many acts, from local bands to national artists, have had to delay the vinyl release of their music because of the backlog at pressing plants. Metallica, already one of the top-selling acts on vinyl, now has the ability to get its releases out whenever it wants, which is a nice luxury to have.

For example, last year Wilco decided to delay the project it was working on and release “Cruel County” before its Solid Sound Music Festival instead. While the music was on streaming services in May, the vinyl didn’t arrive until this January. I don’t know how well the physical release sold, but I bet it would have sold more copies when the band was getting the national press that coincided with the digital release.

Owning a pressing plant seems to be a good investment, at least in the short term.

This week’s Metallica announcement was a real surprise.

To coincide with the release of its 12th album “72 Seasons” this week, the band created the Metallica Marching Band Competition.

Who knew the “metal” in the band’s name was brass?

Marching band charts have been created for “Enter Sandman,” “Master of Puppets,” “One” and 10 other Metallica favorites provided by Hal Leonard via sheetmusicdirect.com.

Marching band directors are invited to create programs built around Metallia’s music and submit video of the performance. Professional judges will pick five finalists in each category, and Metallica will pick the winners and also allow fans to pick their favorites.

In the collegiate category, the top Division I school will win $75,000 in prizes and the top Division II school will receive prizes valued at $40,000. The top high school gets $15,000, and the two fan favorites (one college, one high school) each get $10,000 prize packages.

Think of how many people see the halftime show of The Ohio State University Marching Band each week during the football season, either in person, on television or online. Other collegiate bands have huge followings, and thousands turn out locally and around the country to watch their high school teams play and their bands perform at halftime and for band nights.

The deadline for bands to submit their performances is Nov. 16, and complete details are available at www.metallicamarchingband.com.

Andy Gray is the entertainment editor of Ticket. Write to him at agray@tribtoday.com

As artist Bayne Peterson sketches the voluptuous and sinuous shapes of what will become his vibrant wooden sculptures, he takes cues from organic movement. “I’m thinking less, ‘what does nature look like?’ and more, in a general sense, ‘what would nature do?’” he says. His geometric works echo both generative and reductive biological processes, bulging and surging in asymmetric forms that accentuate the relationship between negative and positive space.

Evoking growth, replication, and deterioration, Peterson references geometric principles when structuring his works. He begins with an initial drawing, cuts dyed and raw wood, and then splices the segments into checked patterns, stripes, and radial motifs. Each work undergoes a hefty round of sculpting with rough hand tools like rasps and files before the soft, supple curves emerge. “My process (of) shaping and sanding feels very much like erosion, and I also think of my sculptures in relation to geology, with the layers of dyed wood being like layers of sediment,” he shares, likening the lines to topographic maps.

The resulting sculptures contrast the vivid patterns with the natural grain of the raw material, and many are comprised of two larger forms stacked or slotted together. Because Peterson prefers irregular motifs and undulating forms, the works shift in perspective depending on the position of the viewer. “One of the most fun parts of making sculptures for me is the challenge of making a static object seem animated,” he says, elaborating:

Sometimes I want it to feel like the viewer’s entire field of vision, and not just the object, is in motion, like looking at an underwater object from above the rippling surface…My ultimate goal is to push all these factors to a level at which the object begins visually to swim and in which the overload of information within the work is difficult to process all at once, like the experience of watching a flickering campfire or looking at a glitching pixelated digital screen. 

For more from Peterson, who is based in Rhode Island, head to Instagram, where he shares a trove of sculptures and glimpses into his process.

“Untitled” (2018), dyed plywood and natural wood, 15 x 9 x 5 inches. Photo by Jeffrey Sturges

“Untitled” (2021), dyed plywood, 19 x 10 x 8.5 inches. Photo by Lance Brewer

“Untitled” (2022), dyed plywood, 15.5 x 12 x 6.5 inches. Photo by Lance Brewer

“Untitled” (2020), dyed plywood, 11 x 15.5 x 5.5 inches. Photo by Jeffrey Sturges

“Untitled” (2020), dyed plywood, 14 x 13.75 x 7.5 inches. Photo by Jeffrey Sturges

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Dyed and Spliced Wooden Sculptures by Bayne Peterson Bulge and Ooze in Playful Shapes appeared first on Colossal.