About the Artist
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Artist's Statement
Artist's Bio
Video of artist at work
My working process has led me to incorporate a wide range of tech-
niques into my work including woodcarving, silver soldering,
lathe-turning, brazing, welding and gold leafing. The design aspects
of my work are largely preconscious and automatistic. I begin work
on a new piece or series of pieces only with an initial view and the
understanding that the work at hand will lead where it will lead.

Over the past fifteen years I have become more and more interested
in vision, particularly in terms of how my pieces may reflect, refract,
and distort light. Many of the materials I use—brass, gold, steel,
chromium, enamel, wood, various colored glasses, Bakelite, leather
—either reflect light naturally or can be finished to do so in a variety
of ways. I can then enlarge, reduce, multiply, color, invert, refract
or otherwise alter these images by using spherical and strategically
curved surfaces, optical lenses and mirrors. In many cases the inter-
play of light captures and distorts the reflection of the viewer. Many
of my recent works incorporate turntables, so the viewer may rotate
the work 360 degrees and scrutinize it from an easily available,
single point of view.

Many of the sculpted heads that I have finished are constructed in a
way that suggests an inseparable relationship between the viewer
and the work. In some cases, when one views the heads one might
see an image of oneself and/or a reflection of one’s eye in the eye of
the sculpture. Of course, as the viewer changes, so changes the image
in the sculpture. In addition, due to the spherical shape and mirrored
surface of the central element in many of these works, an image of
the viewer appears to be situated inside the center of the sculpture,
looking out. While the piece rotates, the central images remain
constant. Both of these perspectives are unavailable in the “real”
world, and are manifested only upon close examination by the

The interest in the play of light dovetails with my curiosity and
affinity for symbols, objects and accessories related to vision.
Optometric apparatuses, eye-testing kits, eyeglasses, monocles,
goggles and safety glasses, as well as individual corrective lenses—
concave, convex, double convex, cross-sighted, bifocal, trifocal, etc.
—all appear in my recent work, and serve a double function: as light
refractors and symbolic references to clear, deficient, corrected
and/or enhanced vision. These references call attention to sight—and
insight—in more than just the physical or literal sense. Introspection,
self-knowledge, dreaming and glimpses into metaphysical and
spiritual realms all fuel my working process, and are indeed
manifested in the finished works.

Interestingly, eye related symbology is prevalent in the images and
accessories of 19th and 20th century American secret societies
(such as Odd Fellows and Masons) that I use in my work. In par-
ticular, the left eye is often depicted as the All-Seeing-Eye,
the Eye-of-Omniscience and/or the Eye-of-God. The delineation of
detail in many of these depictions—found on Society buildings,
literature, pendants, pins and other paraphernalia—is extraordinary,
and is in fact the primary reason I incorporate such objects into my
work. Hoodwinks and blinders were used in initiation rites, further
emphasizing the link between sight and knowledge. The position of
the Eye and Omniscience as central motifs in these objects is
intriguing and alluring, and is rendered more so by the fact that the
operations, ideology and knowledge of these societies is unseen by
the general public. These societies and other unseen phenomena are
a source of constant speculation.

With these references to unseen phenomena, materials from
ophthalmology and optometry, and manipulations of light, I hope
that my works will affect viewers on multiple levels—visceral,
emotional, intellectual—and that one may infer any number of
personal meanings. These areas of interest, techniques and materials
will most likely in form my work over the next few years. My
decision to concentrate on sculpted heads is motivated by the
awareness that they embody both subject and object, and that they
engender and circumscribe simultaneously the content of my artistic
pursuit. Relieved of these considerations, I merely have to make
another—albeit advanced—head and when that is finished,
yet another.