Like most other artists, I am always aware of my surroundings – and frequently see situations from the perspective of the composition. However, the main source of inspiration for my situational sculptures is usually related to past or current comments and conversations as they reflect my environment. My sculptured characters and scenarios represent very real situations (within an artistic interpretation); I relate to their roles, personalities, and feelings. With their mini-drama composition, my sculptures can be viewed as a “slice in time”.
The physical part of the creative process begins with a rough sketch, which is quickly translated into a small plasticine maquette. Then I sculpt full-size in clay, and from that, make either a plaster mold for a single issue or one of flexible rubber for a limited edition series. The final sculptures are cast in fiberglass (with some reinforcement for the larger prices), and then painted in oils.
My bronzes follow a quite different conceptual (and physical) process. These figures focus primarily on motion and movement, and represent my love and delight in the human figure, whether as an athletic dancer or a more Rubenesque bather. I see bronze as an almost liquid, flowing material, and my pieces virtually evolve as I mold the original clay from which the final figures will be cast.
As I have often explained, I sculpt what I feel – and paint what I see.