started my sculpture career with a very classical, figurative
beginning, and, although my materials and forms have changed
a great deal over the years, it is still possible to find
remnants of the figure in my work. Most of my large outdoor
wood pieces from the 1980s stand on two points (legs) and
incorporate a separate element on top (body or arms). My granite
work, started in the 1990s, also tends toward figurative or
post and lintel forms.
incorporate several elements together to construct a sculpture,
I look at the way they relate to each other, and ultimately
how they work together as a whole. A tilt here and a cut there
can change the attitude of the piece and gives each one its
own distinct personality. When I create a piece with just
one element, I tend to do more carving and editing of the
material to achieve the same effect.
and the ideas behind it are tied very closely to the material
from which it is constructed. I have chosen traditional, ancient
mediums with which to express myself. I try not to manipulate
my materials beyond their natural state; I imbue them with
an expression of dignity and grandeur to release their spirit.
I studied with Boris Blai (near Philadelphia), taking private
lessons in his studio. Boris studied under Rodin and helped
found the Tyler School of Art in Philadelphia. During my four
years at Syracuse University, I experimented with abstract
and used a wide variety of materials. Under Boris' tutelage,
I had used clay and plaster, hand modeling. At Syracuse I
began to use metal (cast and fabrication), plastics, wood,
stone and ceramics. During my last year, I began to concentrate
on cast metal, hand-formed sheet metal and small, carved wood
pieces. My work became more true to the material (I did not
mix as many materials together) and the forms became more
1983, after graduating, I went to work at the Johnson Atelier
Institute of Sculpture in New Jersey. I spent the next 14
years there as their Department Head of Installations. The
80s were a very prolific and important time of my life. I
had ample space to work, and the experience of moving and
handling large artworks started to have a profound effect
on the size of my work.
large wood sculpture, "Boris and His Cat" was carved
in 1985. It's made from one large piece of oak, 17 feet long.
Many large wood pieces followed, some carved from one piece
of wood, but most from several elements bolted together. I
tend to do more carving and altering of the single element
multiple element pieces, I rely more on the natural shape
of the wood, and spend a lot of time moving the elements this
and that until I get the overall stance and movement that
I want. Many people ask if I work from a maquette (smaller
version). I do not. In 1988 I met Phillip Berman, a collector
from Allentown, PA, who began to place my work on various
college campuses in Pennsylvania. This gave me great exposure.
It was also around this time that I had several sculptures
included in Andre
Emmerich's sculpture park in upstate New York.
to the large, outdoor work I was also metal casting small
pieces. These were made by combining wax and woodbark and
directly burning them out in the foundry process. Each of
is unique, as there is no reusable mold. With all this outdoor
work, I felt a need to make some work for indoor (gallery)
spaces. I made several wood pieces, very much like the larger
outdoor work. I also cast several of these configurations
Berman worked closely with a stone shop in Allentown and suggested
I try my hand at stone carving. In 1992 I made my first granite
piece, working in a similar fashion to the multi-element wood
pieces. The shape and weight of the granite dictated that
I simplify the "stance" of the overall form, and,
as a result, my work became almost figurative again (standing
on two legs). I call these early stone pieces "walkers".
The early and mid 1990's proved to be my most productive years
ever. I was working with wood, granite, and bronze, and in
1995 I tried my hand at
I left the Atelier to run the metal shop at Pratt
Institute in Brooklyn, NY. This meant the loss of my large,
indoor work space at the Atelier, so for several years I did
my work at the stone shop in Allentown. I worked only with
granite. In 1999 I built my own studio and got back to working
with several different materials again.
two pieces, pictured here, are more horizontally-oriented
than most of my previous work. The wood piece, "Floyd",
I made specifically for children to climb on (it was named
after the storm that brought the tree down). The granite piece,
"Thoth" (an Egyptian moon god) was made after 9/11/01
and alludes to both the vulnerability we can feel after
such a tragedy, and to the strength we can attain to rebuild
and move forward.
I am often asked about the titles of my work, and for me,
the title is very personal and directly derived from my life.
Several of my pieces are called "Kashmir". That
was the name of one of my dogs. Several are titled "Stevedore".
My grandfather worked as a stevedore, so a piece with a large,
high element being "carried" is appropriately named.
last photo shows my largest piece to date, "Large Granite
Arch", which is currently installed in New Hope, PA.
18' high by 30' long by 10' wide.