Veritas Composite: Building Beyond Stone

This last week and a half has been a rush into something only my wife fully knows about. All the technical details of how to approach each individual project have been carefully rehearsed in my head — variations of possibilities revisited daily as I work on the Lexus RX line at Toyota Motor Manufacturing Canada here in Cambridge, Ontario.

Over the last five years, I’ve likely contributed to building around 800,000 vehicles. The process is so deeply ingrained in muscle memory that it frees my mind to focus intently on other projects. That’s the goal — to develop another operation that can run fluently alongside my stone carving practice.

Let me put it lightly before revealing too much. Stone carving is a deeply methodical process. My last project reinforced that reality. Working with black chlorite stone — roughly a 2–3 on the Mohs hardness scale — is still demanding. Even with extensive tool use, there is no shortcut through the material. It resists speed. It demands time.

So I began developing something alongside it — something I’ve quietly committed half my efforts toward before even producing true prototypes.

In truth, this has been unfolding for over six years.

It began with experimenting in 3D scanning. Using LiDAR through my iPhone Pro, I started building digital versions of my sculptures. At the time, it felt revolutionary — but the process was crude. I spent hundreds of hours refining just a few models, cleaning scans, improving surfaces, and preparing them for use. Some of these were uploaded online so others could produce their own versions, allowing me to gather feedback and explore new directions.

Two years ago, I invested in a dedicated laptop and a higher-precision 3D scanning system. This newer technology dramatically improved accuracy, reducing cleanup time and allowing me to create far more refined digital replicas of my work.

Around that same time, I took a weekend to experiment with bronze casting — a hands-on introduction to the process. The sand-casting method I explored showed me both the potential and the limitations. While it gave me a foundational understanding, it also made clear that certain levels of detail require more advanced processes.

About a year ago, I began developing a relationship with a professional foundry experienced in detailed bronze work. Their process, including lost-wax casting using resin prints, opened the door to a level of precision I knew I wanted to pursue. I committed to producing my first collector edition bronze of one of my favorite pieces, “Brother.” The process is expensive, requiring significant upfront investment to build inventory, but it’s a step toward making the work more accessible while maintaining quality.

I’ve also connected with a respected foundry in Quebec, known for both small-batch artistry and scalable production methods. Their clarity and experience have given me confidence in exploring multiple directions within casting.

But this all led to something unexpected.

Over time, I began developing my own material process — a hybrid approach combining organic materials, epoxy resins, clay-based applications, structural reinforcement, and layered finishing techniques like airbrushing and washes. Combined with my 3D scan library, this opens the door to creating entirely new works that maintain the spirit of stone, but expand beyond its limitations.

This evolving process has taken on a name:

Veritas Composite.

It’s not a single technique, but rather a flexible system. Sometimes it incorporates glass. Sometimes wire. Sometimes it leans heavily on resin or texture. Each piece becomes its own exploration — unique, hands-on, and far less constrained by the physical resistance of stone.

This direction came into sharper focus after a conversation with Eduard Spera at his gallery in Niagara-on-the-Lake. During our discussion, I asked whether my work might fit within his space. While it wasn’t the right time, his feedback was thoughtful and encouraging. He spoke about his own early years in printmaking beginning in 1991 — the successes, the failures, and the importance of evolving beyond one-off pieces.

One point stood out clearly: relying solely on individual, time-intensive works can limit how far your name travels. To grow, you need ways to expand your reach without sacrificing quality.

That conversation stayed with me.

So here I am, figuring it out.

Building something new. Expanding what’s possible. Finding ways to create work that maintains integrity while allowing it to exist more broadly in the world.

I hope this new venture works out. But to be honest, I’m still figuring it out as I go.

That’s part of the beauty of it.

Art isn’t a fixed path — it’s something shaped by your hands over time. It’s trial, error, intuition, and persistence. It’s identity formed through making.

There’s a quote often attributed to John Lennon that captures this spirit well:

“We’re all just making it up as we go along.”

And in many ways, that’s exactly what this is.