Platicas:

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        It is no secret that I like to draw and paint on the surfaces of my sculpture. Some folks have an expectation that “real sculpture” is monochrome.  A winery owner on Long Island once explained to me that sculpture must be white as in Greek marble. 

      (An aside: Ask people what do they think was the most prevalent medium of Greek Sculpture, most will say “marble”.   In fact, it was polychrome bronze sculpture replete with lapis inlaid eyes surrounded with bronze eyelashes. Why do people think marble? Because marble is what remains after most of the bronze sculptures were melted down and repurposed, (mostly for weaponry.)

       Two kinds of surface treatments are used on my sculpture: developed 3-D texture which is light responsive and the painted, fired color which reveals itself in over-cast non-directional light.  These two basic types of surface treatment allow for changes in appearance of the sculpture as the light situation fluctuates (particularly with outdoor work). The drawn design arises from the dynamics and forces inherent in the underlying form itself. 

        I confess that I love establishing patterns and then breaking up expectations when the marks cross over, pick up and join another system or pattern.  Patterns are a reassurance; they create an expectation which may be fulfilled, or not!  Lines are the closest to a narrative you will find in my sculpture; they always lead to somewhere, or, nowhere.

When someone is able to take time to read and contemplate the surfaces of my forms, the history of creation reveals itself.

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