Dreams are my favorite ways into sculpture. Sometimes it’s a full dream, other times a simple fire-starter or maybe a fleeting figure or feeling strong enough to generate a focal center that holds the work going forward, a place that exists outside of time for me, one that I get to know and make home. Pieces become old friends with history and shared experiences.
I’ve been making sculptures for as long as I can remember. I started out with snow and mud, then cardboard, tape, glue, scissors, string and paper. Later I pursued a classically academic art education including anatomy, fine art drawing, casting, mold and model-making. Then I discovered bas-relief as an oblique way through the academic grid. I’m always focused on integrating my impulses, motivations and senses with thought and actions.
My subjects are the figure in isolation or relation and the experience of defined place. My sculpture uses light, perspective and form. I explore space with an immersive perspective of multiple vanishing points. I also create figures that tell or discover stories, both within a framework or situation and as free-standing subjects.
Most recently I’ve been revisiting my earliest love, clay figure modeling, as a child might do, without armature or model. It’s a simple challenge and fundamental. I’m learning about the effects of gravity on compression and expansion of material and form, means of expression and balance, levels of proximity and detail, uses of light and shadow and tension of surface and structure. I’ve been relearning shaping clay and ways of making marks and form.
I’m also working anew with plaster and wax, looser and more direct materials.