This is large organic form in terra cotta. I am captivated by the qualities of clay: plasticity, immediacy, the ability to record history, the embodiment of flux, the ability to render motion, the capacity for deep shadow and intricate texture. Clay offers "pulse" rather than "idealization." Forms are imbued with a sense of spirit and animation. This is what interests me.

Some insist these forms are abstracted, but, any form one can imagine already exists.

Layer upon layer of texture is built up creating a history and transparency within a dense opaque medium. Scale is large, not monumental. Works are unique, no multiples. I work forms in series. First there were columns, then spires, then earth tongues, then spirals. These figures are usually installed in groups: colonnades, clusters, pairs, surrounds, or other site influenced
configurations. Installations rise up from the ground to allow mingling among the elements. Viewers, by proximity and scale, become a part of the assembled. Subject is the individual as a part of a larger entity. The work cannot be properly understood from the Renaissance assumption "man is the measure of all things."

Currently, I am slicing a basic form. I work the "slice" about 7' high. This is a scale with a solid presence without being overbearing. The form is made unpredictable by the slice. Each view is radically different, offering no hint of what is around the bend. The occurring slice face is stele-like, a forum for runic elaboration, a tablet of recorded memory. The figure is cleft, yet the
patient observer will supply the missing part to retrieve the whole.

I sculpt with my Id in my fingertips.