There is a point when an artwork becomes alive; the artist can feel it in the work. It seems to breathe, to begin a pulse. It becomes self-sustaining, taking on aspects of individual personality born from the artist, yet separate, with its own form, color, texture, and temperature. The idea has come to exist in mass, space and time.
My materials, methods and scale vary with the idea. Large pieces often invite the viewer into the sculpture’s space. The larger public and private works usually are preceded by a maquette. They may be designed using engineering software and have included digital scanning and rapid prototyping in the process. Some pieces are passively or actively interactive. Sometimes, I prefer to work intuitively, without knowing the final outcome. This is generally the approach I use when carving and in smaller works. Regardless of scale, I usually contrast fluid curves and hard edges within the same sculpture, as well as using various surface textures for emphasis. Often tension and balance between elements, and the resulting negative spaces, are important to the idea.
I regularly work in stainless steel; its tensile strength and the additive nature of working in this material appeal to me. Bronze, aluminum and iron are metals I use for their colors and casting qualities. I enjoy carving marble and other types of stone, taking pleasure in the resistant and reductive nature of a material that provides another set of properties. Frequently these materials are used in combination to expand my visual vocabulary, with light and liquid sometimes incorporated into the designs.
Art has the ability to communicate beyond the barriers of language, while making an impression in the memory like a mold takes from a casting pattern. Sculpture activates the surrounding space, giving physical presence to an idea.