Gallery

I have always found myself drawn to sculpting the human, whether in a raised hand, or a whole figure.  The figure is both intimate and universal, in the way it conveys intent and emotion, history, injustice, hope, longing or any other of thousands of emotions we go through every day as human beings.

I also find that the human form often brings out the strongest reactions from observers.  We quickly relate to a figure, whether it is strictly representational or abstract.  We resonate with the silence of the figure, or the position of the hand, or the tilt of the head, because we have been there too.  We see ourselves reflected there, as a matter of hope, or shame, or where we wish we could be, or where we know we can never go back.

I have been practicing figure drawing, both "Drawing from Life" and occasionally from photos, for several years. I've found that drawing the figure, especially from a live model, helps me develop a deeper understanding of the figure -- a skill which transfers well to my sculpture work. I have also started experimenting with watercolors, adding them to my drawings

In addition to figure work, there are many other themes that I have followed, pathways I have explored.  Some of these are are vessels, or what you would traditionally think of as “pottery” or functional work.  Some are much more along the line of the abstract, or depicting other forms, objects or ideas.  Some are purely whimsical, letting my imagination wander back through the pathways of fantasy and story, remembering what it was like to be a child again.

“Here be Dragons…”

I have learned to always carry my sketchbook wherever I go.  My sketchbook has become my notebook, journal, a way to remember ideas, a way to reflect the things I see around me.  I am wired as a "visual" thinker, and I often experience and learn about the world around me through the use of images.  Having a sketchbook handy at all times allows me to capture those ideas.