I have been making sculpture since 1983 when I took a class as a college freshman. I had been searching for a form of artistic expression and was immediately taken by the pairing of both physical and mental. For over half my life, I have used materials to learn about myself. These discoveries and explorations have allowed me to learn about my impulses as an artist and as a person. The dialogue with sculpture has become the one constant in my life that always reminds me of who I am, where I have been and luckily all the endless possibilities that remain.
As a successful businessperson outside of art, my motivations for making work get to be removed from financial concerns though I do successfully sell my work. I seek to push myself, always trying to further an idea as opposed to repeating something for the marketplace. The gift I give myself is the opportunity to learn. Sculpture for me is a chance to realize truths about who I am at a moment in time. Reflecting back on older work is like reading a diary. I get to see who I was at that time. As a mature artist I now realize I am nurtured by my work physically, mentally, emotionally and spiritually.
My love and respect for the materials I work with should be evident in my work. The irreducible realities of the hardest granite is unmistakable. Boiling earth that has cooled and somehow found it's way to my studio is a wonder all it's own. Creating liquid glass, so that I may playfully form and shape it is like a dream come true. These two very different materials have become the way that I explore my world. So different yet so similar, their juxtaposition leads me places in a dialogue that always surprises and informs. I spoil myself with materials and tools. This self-indulgence creates it's own lexicon of responsibility to the materials and myself. Not reaching for honest expression would be such a waste.
My influences are many, but like most things in my life have their own polar relationship. Isamu Noguchi and Marsden Hartley are probably not commonly put together. For me they represent the journey of art that I find most intriguing. Noguchi's reverence of materials and process were wrapped up in an Asian aesthetic that he felt akin to, but was also rejected from. This informed his work and his life in a very unique way. Similarly Hartley was not accepted into the culture where he yearned for acceptance. Hartely painted from his mind's eye in a way that I find irreducibly honest. Brush strokes that are not supposed to look like clouds, but rather are supposed to look like what Hartley thought clouds look liked. This subtle difference is one that I adopt in my work. These two men spent their lives in pursuit of an expression that was their own, one that reflects who they were.
My work, when looked at from a multi decade perspective has one truth. My work is me and I am my work. I now see my art as self-portraits. I try to be as honest about myself and my human condition as I can possibly be. My work is not about perfection or beauty for the sake of beauty. I see myself, like most people, as very human and try to make work that reflects this. My work always yearns for grace and beauty but is always held back from attaining this expression by their hand made qualities. I stay away from processes that could mechanically create perfection. Every surface is done by hand, guaranteeing they are as flawed as I am. There is a bit of imperfection in every aspect of my work, an undeniable relationship to the human condition.