The imagery that pervades my work reflects a lifelong fascination with animals. As a child this led to hours of watching, drawing, and imagining. When I began making sculpture as an adult I developed these mental images in three dimensions. Facility is not the objective of my work, but a means to convey an expressive moment. The materials I use retain a raw, immediate quality. Presence and absence reverberate in the sculptures: a network of steel lines builds the form, drawing and re-drawing the animal, creating a tension like the sudden sighting of a wild beast. The surrounding environment penetrates the negative spaces between the lines of metal; the landscape itself is imbedded in the work.To make the sculptures I search scrap yards for pieces that have been discarded and ravaged by life in the yard. Bent and twisted, such pieces contain energy and a potential new life. Industrial refuse is transformed to living form.
I also make small sculptures in wax. Complexity and beautiful accidents can happen. Layered colors and subtle textures build the form and explore the painterly side of sculpture. The surface is a living skin, with varied thicknesses, pierced and broken here and there, allowing glimpses of the interior. I melt white microcrystalline wax in a pot and add paint, pouring out thin sheets to create a palette of different colors. I model the wax at room temperature like clay, building it hollow in colored layers over a simple wire armature. Using a propane torch to heat basic tools (a spoon, a butter knife) I carve and melt the surface and blend colors. I use three dimensional color to work at the intersection of painting and sculpture.When finished, I brush the surface with a clear urethane resin for a hard, protective coating.
Large or small, steel or wax, the sculptures use the body language of animals to express a feeling or state of being, with motion conveying emotion.