All of my work is about flowing line, texture, opaque vs. translucent, and figure-ground play. Whatever medium I’m working with usually asks you to touch it. It’s all about curves and texture, light and shadow. I’m only interested in work that conveys that kind of sensuous pull.
My transluscent alabaster sculptures have texture to the point of opaqueness and enfold the viewer in warm but sometimes painful awareness. I carve stone in forever-time, reaching for connection with spirit, with balance and centeredness, with inner vitality. I am told that I have muscular dystrophy and some days I cannot work zippers or open jars. But I can carve rocks. I must carve them.
In aluminum and copper, shape and texture may also dominate, but in many, it is the content that dominates and these are more painterly. I’m always pushing the paint in ways that highlight and enhance the shimering texture of the metal and heat patina of copper. My metal work is my fast-feedback art form. Running the stylus over its silky surface, changing the pools of light to sinuous rivers—what a pleasure! Plus, once a line goes in, it’s in, so I use a little designing/planning, then it’s party time; I just make it up as I go along, and the creative universe gives me a new texture, virtually every time.
My goal is dramatic impact and attention to intricate detail. The details are meant as a reward for leisurely perusal. With this approach, the viewer gets something from a glance and something entirely different from careful consideration.
Professional Distinction: Commission/Custom Work, Instruction, Public Art/Installations