I first explored sculpture in the mid 1970s in a New School class taught by Manolo Pasqual.  He took me under his wing and was my best art teacher.  His philosophy was simple: "You see that? Why you do this?"  

​        I view traditional sculpture (rendering a likeness of a three dimensional object in three dimensions) to be at one pole of an artistic landscape that extends from sculpture through relief to two dimensional painting and drawing.  

     Traditional sculpture is not entirely perceptual, i.e., based solely on observation of what we see, but also upon measurement. We can never see all of a three dimensional object at one time, just that portion facing us.  To make a representational sculpture, we must combine visual information from a series of views, each subject to the visual distortion inherent in any lens system, the eye included.  (We have all seen the facial distortion of a fish eye lens which enlarges that portion of the face nearest to the camera.)  To a lesser extent, each view of an object involves some degree of distortion.  Sculptors compensate for this using their knowledge of form.  

     Most of my sculptures we done during the winter of 2002-3 when I felt the need to push my reliefs further toward the sculptural end of the spectrum.

     My sculptures were modeled in with a mix of vaseline, porcelain clay and wood  floc.  The finished piece was coated with latex, the interior mix removed and replaced with hydrocal plaster, the latex cut away and the finished piece over painted with acrylic.  They range in size from 8" to 18" in length.​