Biography

I like to think of my body of work as being about exploration. The overarching theme of marine life provided a jumping off point for the exploration of negative space and the attempt to create fluid, dynamic compositions. There is more to what is not there in this body of sculpture than to what is. The negative space created by the sculptures composition was really what I found myself working with when designing, attempting a harmony and rhythm within those shapes as to how they relate to one another in alternate views. the marine life subject matter has been a good conduit for that exploration. My goal with sculpture is to find a method of form which speaks to the viewers innate sense of balance, harmony and rhythm. Within the elements of the compositions, I try to stay away from anything too severe or linear, try to unify the whole of the sculpture as one continuous form and attempt to imbue each piece with a degree of movement and life, continuous , balanced and harmonious from any view. Traditional methods of sculpting for bronze reproduction, limits the artist to a system of utilizing a fixed armature which can limit spontaneity throughout the process. A co-worker and I developed a way around that limitation with a special armature linkage, and I think the devices utility shows in the works sense of movement. It is my intention that whatever degree of balance and compositional harmony would be achieved in the sculpt, would then present as an enduring presence by which the viewer would resonate, innately, on an emotional if not intellectual level.
I began working with ceramic sculpture in 1995 and at once chose to make the exploration of the creative process a central theme to many of life's decisions subsequent. I suppose in some ways some would consider I have pursued a career in the arts in a reverse order. I began sculpture without any background, training or education, was completely self taught and followed my instincts. After five years experimenting on my own, I went to work in at the bronze foundries of Prescott Arizona. After ten years of on the job training, gleaning whatever I could from peers, co-workers and clients, I had created a body of work entered several shows, won awards and was in a few galleries. It was at this point that I decided to explore the world of formal education in fine art as a college student. I am anxious to see how this new vocabulary, knowledge of history and formal design elements effects my future work. For me, whatever the order of the experience gained, the exploration of the form and the personal journey of growth and exploration remain central.
 

Support for Conservation: 

1987~~ Intersea Research; volunteer; humpback whale research; Southeast Alaska
1988~~ The Nature Conservancy; volunteer canoe guide; Pamlico Sound, Nags Head Woods Preserve, Nags Head, North Carolina
1990~~ Intersea Research; ships mate; survey of Exxon Valdez oil spill; Kenai Penninsula, Alaska
1993~~ National Park Service; volunteer natural resource; mink survey, Piping Plover survey, pelican survey, sea turtle survey; Ocracoke, North Carolina
1993/1995~~ Eco Tour kyak Guide; instructed environmental eduation programs; Pamlico Sound, Ocracoke, North Carolina