About The Art
The Helmets
To scuba dive, to be able to breathe underwater, even for less than a full hour, unlocks a portal to another world. Suspended weightlessly, adrift in a sapphire expanse, you're surrounded by life unlike anything on land. I've witnessed the slow, spectral ballet of stingrays in the distance, marveled at the teeming kaleidoscope of the Palancar Reef, and been captivated by the synchronized lines of colorful fish weaving their way through the Hawaiian currents. These experiences, along with a profound respect for the pioneering spirit of early divers, fuel my inspiration for the helmet series.
The Bells
I am drawn to antiques. There is a form demanded by the function that transcends today’s particle board and glue monstrosities. And there is always the story behind the piece. To learn that Paul Revere, in later years, became a well known and respected manufacturer of bells in Early America. His famous ride included the ringing of bells to warn of the impending invasion. That bells had not just a significance to religion, but were relied up for the telling of time. Were used to awaken workers for the shift changes during the industrial revolution. And, there’s the fact that creating them, is just a whole lot of fun.
The Spaceships
I based these sculptures on the coin operated rides for young children that were ubiquitous outside grocery stores in the 50’s and 60’s. For a dime, a kid’s imagination could run rampant and for a brief time, he, or she, could be transported to a magical place in space and time. Pretty good return, on ten cents.
The Ruins
My love affair with travel, particularly through the sun-drenched landscapes of southern Europe, ignites the inspiration behind "The Ruins." Imagine descending a weathered staircase into an ancient amphitheater, the very stones whispering of countless footsteps that have echoed through the ages. This profound sense of connection, of adding your own passage to a timeless narrative, fuels the creative fire. The architectural grandeur and evocative ruins of Rome stand as testaments to this enduring spirit, forever influencing my artistic vision.
Social Commentary
My art is sometimes a compulsion, a necessary outlet that prevents me from succumbing to the onslaught of news that society provides on a daily basis. It's mostly driven by the intrinsic joy of creation, the elation of a successful piece. Yet, sometimes society's intrusions cast a shadow, forcing my creativity to confront the darkness.
"Imperfection In Liberty" resembles the Liberty Bell, but its hollow interior is inscribed with over a hundred names – victims of torture and death during the Jim Crow era. It's a testament to the facade of a perfect society, the darkness beneath the wholesome exterior that binds us all.
"What She Lost At The Border" ignites a potent image. Imagine, after a perilous journey - thousands of miles, mostly on foot - to secure a better future for one’s family, only to have that family ripped apart at the very moment of hope.
"The Four Horsemen" could have been titled "Lies They Told Me In School." Enchanted by the romanticized tales of California's mission bells, research unveiled a different, harsh truth. A horrific lie buried beneath a fairy tale.
"Empty. Arms." The title, deliberately split, carries a double meaning. This sculpture, a response to the Sandy Hook tragedy, was tragically completed long before the horrors of Uvalde unfolded. We are not victims of ignorance, but rather of willful neglect.