In sculpture, material, the heavy element, touched by hand, quickened by the mind, moves toward form.  Material disciplines the sculptor, consuming his time and energy.  Also as a helpful collaborator material suggests variations upon every idea.  His choices, his emphases, become the sculptor’s statement.

The ideas [in my work] have been an exploration and fusion of many influences. The hollowness of  bronzes and the strange caverns or suspended fragments in ancient castings are acknowledged. I have enjoyed the curious surprise of a mould’s negative image and the possibilities of statues enshrined by packing cases or with forms expanded by shims. Lamination has been chosen because it frees and strengthens wood; it is less prone to crack when hollow. The observed world has offered shadow and reflections as well as the usual relationships of shapes, while the inner world has opened memory’s treasure and suggested evocative palcement in space or unexpected accent.