My work is generally figurative. It is purposely not highly accurate. I am more interested in gesture and feeling than the exact duplication of a living thing. I care about silhouettes and loosely modeled surfaces.
I never let stuff out of the studio that I wouldn't want to live with: I want to feel uplifted when I look at my sculptures. Most of my work has a message or a story behind it.
Part of the challenge of working in bronze is that I need to have a clear vision of what something will look like when it's translated into a different medium, i.e., from the initial clay to the final bronze.
Bronze casting is a team sport. At the foundry, I depend on others to make my art look good. Sometimes interesting things happen there, which can take a piece even further down the trail.
When I first bring a finished piece home from the foundry, I put it in my kitchen, where I live with it. I like to interact with my work and often make multiples that I arrange and play with.
I work in spurts. I keep a notebook of ideas and then when I sit down to work, something surprising usually comes out. Often this happens at the Vermont Studio Center, where I can focus exclusively on my art in a distraction free environment. I like to go there for a month every year or two.
I continue to explore other media like paper cuts, collage, photography and poetry and I find, moth that I am, I continue to be drawn to the fire and transformation that is bronze.