I was weaned on modernism, and I continue to see unique three-dimensional forms in space as cogent, elemental imagery: the play of light and shadow; the tradeoff of volume and negative space; the balance of form with texture. Whether abstract or figurative, sculpture has the capacity for articulation of the ineffable.
My sculpture plays on form and texture. My forms are determined by envisioning unique interrelationships of form, the texture a result of raw sculptural processes. The result tends to be biomorphic through visual familiarity with many living organisms, or figurative in posture and relative positioning. Sometimes purely abstract, sometimes abstract figurative, my work suggests otherness.
I work principally with copper, a semi-precious base metal and an infrequent medium for sculpture. I became enamored by copper decades ago while working with it occupationally. I was attracted to its fluid form and by the delicate chromatics copper manifests with a calculated application of heat. Linear form has always characterized my sculpture.
Patina, and copper’s chromatics and darkening over time are all forms of oxidation and entropy. I’ve had a life-long fascination with entropy and its transient beauty. I’ve always factored it into my built environment and have fully implemented its aesthetics into my art.
My process is that storied harmony between medium and artist. I generally start out with a particular image in mind, and the constraints of the medium guide the ultimate outcome.
I pursue grace without refinement, motion absent lyricism. I invite viewers to follow the motion of a sweep, to let their eyes feel the texture of the surface. Employing nearly exclusively recycled and repurposed copper, my work straddles the duality of creation and disintegration.
The darkness of the 21st century’s afflictions of malice, authoritarianism, and contagion begs for relief or interpretation through art. This is my purpose.