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 are fascinating. I am involved with conveying "pulse" rather than "idealization." The forms are imbued with a sense of spirit and animation. These sculptures are unique, not multiples; each is formed by hand, individually, not cast. Hand building enables development of deep crevices and shadows not available with a cast form. Layer upon layer of texture creates a history and transparency within a dense opaque medium and surfaces highly responsive to light. The scale is large, personable, but not monumental. The columns are installed in groups: colonnades, clusters, pairs, surrounds, or other site influenced configurations. They rise up from the ground, the same ground on which the viewer stands, and through proximity and scale, the viewer becomes part of the assembled. This work does not share the Renaissance assumption "man is the measure of all things", rather it evolves from the idea "the individual is a part of a larger entity". This work is to affect the viewer viscerally; it is not meant to be an intellectual discourse.

Interior installation of the columns, spires and spirals require a
retrofit of a pipe armature sleeving into a steel base with interior
weight for stabilization. A steel base with armature can be provided for
each piece for about $200.00 along with instructions.
Terra cotta does well outdoors when properly installed. Some climates
offer more potential for installation than others. To best understand,
eliminate the “flowerpot on the deck experience”and consider the terra
cotta skyline of our major cities, or the larger than life size Qin
Terra Cotta Army, to know the durability of the medium. Exterior
installation is straightforward and easily achieved. Moisture is not a
problem. Freezing is not a problem. Repeated freezing and thawing of
moist sculpture is to be avoided. The sculpture must be installed in a
site that does not have standing freezing water, the base of the
sculpture should set on well drained concrete. This prevents wicking of
moisture up from the ground. Another consideration is public access. I
am happy to discuss site selection and installation further. Contact
505.289-2417.

These organic works provide a satisfying counterpoint in contemporary
office and corporate buildings, which are often minimalist environments.
Atriums and courtyards offer both daylight’s shifting light play, and,
when lit from the ground up, terrific nighttime drama.