I like to work with paint and wood. I have had creative ideas using other media, but wood have become the most useful expression. I have named my pieces “Construction Sculptures” to separate them from what most think of when referring to sculptures. Because of their architectural feel I introduced the term “construction” to give them some identification. The linear cohesiveness of the space and shapes takes on some aspects of architectural design.

Imagining one of my pieces in a particular environment is the genesis for a new idea. Keeping that environment in mind as I build, helps to keep me focused on the work. When I created “Cityscape”, I envisioned this piece in an entryway, concourse, or foyer of a municipal building. The large size of the work, and the softness of the wood, would produce an interesting relief from the hardness of marbled walls or the coldness of concrete. “Opus #6” was designed with the idea of being placed in a music room with a piano dominating the space.

Enhancing a space, and eliciting some response from the viewer is always on my radar. The pieces have an almost kinetic value that can change (for the better) the whole environment that they are in.

I am self taught, and continuously learn. The more work that I do, the more confident I become. This confidence leads to more risk taking and better creative end results. It’s very rewarding when you are sure handed with your tools, and you know exactly what you want to accomplish.

I do not do sketches of my work prior to constructing. If I did, I believe that I would be limited to a blueprint. I take a mental snapshot of each phase of a project. When I complete that step, the linear movement of what has been completed dictates the next portion. When the piece is done, it is done. I don’t need to add anything else, or take anything away…it’s just right.