The hand-built fired clay unique has been my sculpture medium for many decades.

My sculpture is “organic” because the method of formation is evolution, not designed. I savor the dialogue between the clay and myself. It is much like improvisational music, an exploration. Clay informs my hand; I push back; it informs me further, and so on. Clay, the embodiment of flux, has plasticity, immediacy, ability to record history. It can even convey intent. Pursuing energy and animation, not idealization, I prefer asymmetry over symmetry and “the heat of creation” over refinement.

Although I have work for indoors, I primarily focus on large sculptures for the outdoors. Clay is a rich, durable medium for outdoor sculpture. As a sculptural medium clay satisfies a thirst for volume and enables deep and rich texture absent in most other media. Solar transit mobilizes shadow to emerge and to recede, shifting form, animating the pieces throughout the day. The scale of my sculpture is personable, suitable for defined public areas. They would be lost in vast open areas. When installations of multiple elements stand on the same ground as the viewer a tableaux vivant experience arises, promoting mingling among the elements and an invitation to become part of the assembled. This sculpture is site adaptive and site responsive and intimately involved with context. I do not want my sculpture to demand the viewer’s attention or to inform the viewer on what and how to think. A visceral and contemplative experience is sought.

I value the “moment of discovery” when my sculptures enter into the viewer’s awareness.

 

 

 

 

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