Laguna Boy Sculpture

The human form has been for me an unending source of strength, beauty and inspiration. My work is a continuing challenge to capture and express in different mediums the spirit of each individual subject. It is also about portraying the diversity as well as the similarity in each person that I am privileged to sculpt. Diversity, even at its most subtle level, stirs my imagination. And here in the Bay Area, populated with people from many shores, I am surrounded by a wealth of compelling subjects in the varied shapes, forms, colors, sizes and energies of those who walk beside me daily. In addition to the physical manifestation of the subject that is so compelling – whether broad nose or high cheekbones, sharp angles or soft forms – it is the spirit of these individuals that moves me to sculpt. It’s not only the uniqueness of the features or the drama of the gesture that gives a piece its greatest strength, it is also the humanity of the subject. To me, a good piece results from an artist’s seeing and capturing the struggles and joys that are native to all regardless of physical or cultural differences. My being is nourished by the desire and the challenge to materialize what I see and feel – to capture the essence of the individual in clay, wax, plaster or coldcast metals.  I have great respect for the materials and the processes that are employed in this endeavor, realizing that they have in their own nature a willingness to work with the sculptor in the expression of her vision. For me, as a figurative sculptor, it is clay that best holds and expresses the human spirit.  It is a mirror of sentient life.  It is soft and pliable; it is strong and resistant.  It absorbs color and welcomes texture. It is sensitive to the most subtle touch; and if its nature is ignored or disrespected it responds with a stubbornness, unyielding to the sculptor’s demands. My working process involves two complimentary approaches.  One is working weekly with a model in a small group of sculptors, honing my skills and techniques.  I build both large and small, usually hollow, except for small gestural pieces. On the other days, I work alone in my studio, experimenting with materials, exploring ideas, creating personal pieces from my model work and from my imagination. Currently, I am experimenting with using several different clays in the same piece – everything from porcelains to heavily grogged clays.  The results range from messy to magic.