How long have you been doing metal work and how did you get your start?

My old man was a master sculptor. I grew up in an isolated fishing village on the coast of Maine, a pristine ,and gorgeous marine environment, but not too much to offer in the way of socialization. Both my parents were artists. My father had a separate metal and wood studio about 100 feet from the house and my mother’s fabric studio was in the house. She made intricate wall hangings. I was the youngest of three children and spent most of my free time either in the deep woods, on the water in my sailboat, or in my father’s studio. I just took to it like a fish to water and they both involved me in their projects at an early age.

My father taught me to weld when I was eight years old. He was a fairly tough task master but never talked down to me for my age. It was a sign of respect but it was also nearly impossible for me to satisfy his high standards of craftsmanship. I just liked working with my hands, the tools, and making things. I didn’t see why it had to be complicated. I was also involved in flat work at the time, drawing, painting, and writing as well with my mother’s influence. They both provided me with a full array of art materials and their studios were always available for my projects as well. I had few playmates, as the nearest child my age was some five miles away and though I had a brother and sister they were enough older to not want to have anything to do with me. Thus I spent much of my time alone. It was the perfect environment to get completely involved with art. Not as some temporary diversion to pass the long winter months, but as a meditation and life practice…

Both my parents were keenly aware of the importance of education and made great sacrifices to give me the best education money could buy. Travel also was valued for it’s ability to provide an expanded world view and the benefits of exposure to other cultures. By the time I was sent away to boarding school (age 15), I had been around the world a couple of times, even traveled for a summer alone across France by motorcycle, but had never lived in a room with another human being. I was fully versed in the fundamentals of art, and excelled in most of the schools I attended.



I'm sure tools like Plasma cutters are pretty exotic to most of us, what equipment and materials are used to create your fantastic pieces?

I have a small space for my studio but it is well appointed. First off I have 220 3phase power coming into my shop. This means it’s allot more efficient (and cheaper) than running everything on 110. I am set up for air tools with a large vertical compressor (to take up less floor space). Air tools are light, have high torque, and are relatively cheap. I also have a variety of electric tools as well. I was a line welder at a trailer manufacturer for 6 years and took 5 % of every paycheck to buy tools and outfit my studio. This was while I was getting my second degree (ART) at night and acting as a TA at Sonoma State University. So I used the Art Department’s studio to make a body of work until my studio was ready. I do have a plasma cutter for stainless mostly and three wire feed welders rigged for steel, bronze and stainless steel respectively, with the appropriate shielding gases for each.

My studio is a fabrication shop, that is, all the various parts to my pieces come together for a final assembly in my studio. I farm out much of my work to other skilled artisans for their specialized skill or I actually work in their studio with their equipment, as is the case when I need to forge something. I go to my friend David’s studio in Bodega which is a full-on blacksmiths shop. These affiliations with other artisans allow me to create more complex pieces and embrace the use of more varied materials and techniques, thus expanding my repertoire and offerings…


Can you give us a short tutorial on how you put a piece of sculpture together.

Yes,I’ll try. The whole process from start to finish came to me in a remarkable dream. In the dream I walked into my bedroom and saw the two companion pieces “Hard Body” and “Reflection” (my self portrait). I was absolutely fascinated with the sculptures and was quite literally viewing them for the first time. In the midst of my delight in the pieces came a little voice in my head saying: ”you built these”…Then I was REALLY non-plussed, and my reaction was “WHAT”?

And then the dream unraveled and revealed the technique in all it’s details. Never before had I ever been so acutely aware of being a conduit to receive a gift from the Ether or Universe (for lack of a better term), that was so completely tailored to my personal needs, desires, skill set, aesthetic sense, and will to create.

I start with thin shell molds taken off the live model with plaster bandage wrap (the same stuff a doctor wraps a broken bone with), after first lubricating the models skin with some high viscosity suntan oil (I use Bain de Soleil). These various molds, usually of large sections of the body, are then reinforced and restructured on the OUTSIDE in a way that allows them to accommodate the heat of welding and the weight of the steel parts without deforming. I then go about the process of building up the figure by welding the bits of steel WITHIN the molds, section by section, until all the parts of the figure are complete. I then put the completed body parts back together trying as carefully as possible to put everything where it’s supposed to go…If this seems vague it is only because it is somewhat of a challenge to describe the process with words. I do hope to produce a tutorial video sometime soon to describe the process in more detail.

At the time I had a very lithesome and adventurous partner, Niki, who after hearing my dream simply stated: ”well, let’s do it.” I warned her that there was a good deal more to it, that I had left out some significant details, and that she would have to remove all body hair where ever I wished to take a mold. “Oh she said”, let me think about that”…Three days later she brought it up again and said she had come to the perfect decision on the idea.

“I will if you will” she said…meaning I must shave “everything “ also to insure her participation. Now this really tested my commitment. But at length I agreed.

When I finished taking the molds from her body and knew the technique was viable I began to think about a male companion piece. It was an easy and quick realization that now MY body was also prepped and ready for molding. I taught Niki the process, and as she, being remarkably dexterous, picked it up immediately. I found modeling for the mold taking process to be strangely relaxing and pleasantly sensual. She was able to get very large sections of my body because I was able to pose for at least 45 minute intervals…So the very two sculptures I had seen in my dream became manifest. I am so very thankful for this creative gift no matter it’s origin. It was certainly not the first precognitive dream I’ve had, but by far the one with the most implications toward my future…



Where do you get your inspiration from?

My influences are many and diverse, my father being the biggest one in regards to aesthetics by far. He was a master sculptor influenced greatly by Henry Moore’s work. Some say they can spot a trace of Moore’s influence through my father’s and evident in my work, especially the wood sculptures. Early in my career, certainly Noguchi for abstract compositions and Rodin for figurative work. The ancient figures from the golden age of Greece had a great effect on me as well. And these works were encountered first hand in an epic journey throughout Greece that my father gifted the whole family with. A shred of that effect can be seen in the pose of my self portrait “Reflection”. It is fabricated in modern materials with modern techniques, but there is something classical in the way it is conceived.

My uncle won the Nobel Prize in biochemistry (Carl F. Cori 1954) and was revered in the family as a great source of knowledge and inspiration. He summered in our quaint little village on the coast of Maine, and often brought his esteemed colleagues for extended visits. Much of my appreciation for the natural environment came from not only being in it constantly but also the tutelage of many brilliant people who were attracted to my father’s sphere of influence and regularly dined at my father’s table. In the summer many of the East Coast intelligentsia migrated North and found their way to my village which was also a resort town. Buckminster Fuller, the celebrated poet Robert Lowell, the writer Mary McCarthy, all were regular visitors. My parents had a large circle of very progressive luminaries that were not only attracted to my father’s work but also the romantic match my parents displayed. My parents were Jungian archetypes in the flesh, Vulcan and Aphrodite…

I must add here another influence which profoundly affected my life and work. In my late twenties I had a relationship with a woman of Japanese decent. I had no previous exposure to Eastern art of any kind. Through her family and her ancient heritage I gained the benefit of an inside look at Japanese culture and decorative arts.

The Japanese influence on Art Nouveau made so much more sense to me after immersing myself totally in the study of their art forms. I still have a profound respect for all things Japanese and for all Eastern Art in general.

These days my influences come still mostly from the natural environment. Sacred Geometry has also become a passion as I see it displayed so prominently in every aspect of physical existence.



With Pallas Athena you changed materials on us, how was it shaped?


The stone that piece is carved from is a soft form of limestone, soft enough to be shaped on a huge lathe and turned into massive columns for extravagant edifices.

There is a local facility where this work is done and I picked up a scrap chunk. I thought it might be soft enough to use an air hammer on, so I bought one at Harbor Freight and retrofitted my own points for it. It worked rather well actually and I was able to knock out that life size head of one of my favorite gods in about a day and a half. I left it rough which I think gives it a sort of primitive ancient feel, with Athena’s signature piercing gaze…Carving stone is of course a reductive process but I find it has some similarities to carving hardwood. I plan to carve more stone in the coming months. I’m interested in making some sculpted faces for fountain spouts like 16th century Renaissance examples.

I embrace all visual arts mediums as well as music ,composition, writing, fiction, poetry, even erotica. I feel very strongly that the more mediums one can master, the greater repertoire of visual language one has at ones disposal to make art. Sometimes an idea is better expressed in a song than a painting, or better as a poem than a sculpture. I try everything and sometimes find different ways to express the same thing…


You use a lot of scrap parts in such pieces as Hardbody, does this make for any particular problems or advantages?


I have developed “interesting” relationships with many local manufactures in the last 20 years. Whenever I get a choice piece of scrap and make an artwork from it, I document the piece with photography and make a print to take back to the source. In this way I involve vicariously the people that are my source for the scrap and ingratiate myself by giving back this little token. But it is effective because over time they remember the works I’ve made and often post the images in their offices, etc.

These are usually very industrial facilities and have very little to do with art. It makes them feel good about contributing and it puts me in a slightly different category which often allows me carte blanche to dumpster dive with impunity.

I’ll collect nearly all interesting shapes in any metal, (though I dislike aluminum) and get inspired to make a new piece by the interesting shapes I find, as often as having a pre-conceived idea and looking for just the right shape or metal to accomplish it. I have become quite flexible and am just generally attracted to anything unusual.

Several of the facilities seem to be fairly entertained by my penchant and will call me when something strange or interesting is generated. I never hesitate when I get a call of this nature, it merely punctuates my interest to act immediately on their information…


Torc, Celtic neckring is an unusual piece, was it difficult to get those particular twists in it?

It was not difficult getting the twists, it was difficult forging the stainless bar into the right shape BEFORE putting the twists in it. Putting the twists in so that they are symmetrical side to side is difficult, because i it's done while it is a straight bar. I use the oxy-acetylene torch for the twists because of the advantage of localized heat the torch provides. The stamped finials were made separately then welded in. The stamps to emboss the symbols was a whole project in itself…



Scarab amulet is very small, while the Sphere of Influence is very large, do you have a preference in scale for your work?



Size is a relative issue. The scarab was infinitely more difficult to execute because of the size constraints of a jewelry piece for a small woman, and because each of the 11 parts had to be fabricated first, and in stainless. With “Sphere of Influence“ the parts were larger and easier to handle and weld, being mild steel.

I actually like making things in different scales. I hope to make some REALLY large pieces in the future but it’s usually very expensive so requires a larger commission.

Do you take your own photos and what difficulties do you need to look out for?

Yes I do all my own photography and photoshop if needed. Polished stainless steel presents a problem in that it is so reflective it can sometimes be too bright in spots. Digital photography solves many of the problems I used to have with film. And I NEVER shoot slides anymore. It is a thing of the past except for archivists…I have a decent 10 mega pixel camera and I ALWAYS shoot in it’s highest resolution setting. I have a 4 gigabyte memo card on board that I download each night. It is very important to document your work because it is often the portfolio which gets you your next commission…

Guimard Gate and Juliet Balcony Railing are functional and artistic, do you do many pieces like these?


Both are challenging for different reasons. I do about half and half. I enjoy design work and site specific
planning which is usually a bit more focused on details of function with gates, railings, fountains, and the like. Many of my sculptural pieces are made without a commission and sold later. Both ways work for me, though currently, I would prefer to be making a bit more sculpture and a bit less functional stuff…



Do you belong to any organizations, exhibit at shows, enter contests (other than at DA)?

I’ve done everything at least once! I rarely join organizations because my marketing needs are too specific and I hate like hell to be put in any kind of limiting category or “box” or lumped with others I have no affinity or alignment with.

This life (being a metal sculptor) is most interesting, but most challenging too. Fortunately I’ve had a very good role model in my father and his successful career, to help me separate the wheat from the chaff. But again there are no rules or proven logical steps one can make to achieve a success (whatever that is). What I have found is that for me,everything revolves around relationships, and money (no matter what anyone may think), IS NOT the driving force of this line of work.

Early on I had some critical conversations with myself which helped to solidify the commitment to making the very best work I can make, NO MATTER WHAT. This required a concerted effort to eradicate the wasteful and distracting nuisance of fantasies of fame and fortune. Ironically ,if one holds to these tenets and simply does the work, and stays true to ones own fidelity and artistic vision,it actually CREATES the fame and fortune, at least the chances are greater with it.

My father always said “if the work is strong enough, it will sell itself”. While this is plausible with monster talent, it is still a bit naïve to think that stuck in the sticks somewhere you can make it if you’re good. You can’t make it if no one sees your work, period. So I have used what marketing devices are within my budget and resources. Primarily the internet and word of mouth. You have to start with a decent product first though. You can have the best marketing in the world ,but if the product is weak, it’s only a matter of time before the business collapses. By the same token, if the product is good, many initial mistakes can be made and still achieve some modicum of success eventually. I often say, ”cream floats to the surface eventually”. By this I mean, true talent will be self evident eventually. But even true talent without, commitment, dedication. belief in ones own path and self worth, and ABOVE ALL, ability to produce TONS of WORK, is but a mere vestige of an imagined life and void of the logistical necessities that tell the difference between a HIGH FUNCTIONING eccentric and a mere eccentric. In other word ACTUALIZATION is key here.



What kind of marketing do you do?

Until recently I was represented by some friends of mine that had a local decorative arts gallery. They have recently morphed into an online referral service and jettisoned the bricks and mortar vestige. I am therefore back to word of mouth and internet sites to make people aware of my work.

I am currently having a new site made which will act as a hub to direct traffic so to speak, since I work in nearly a dozen mediums ,including music composition, poetry, fiction, fine art nude photography, painting , drawing, as well as some industrial design. Have you seen my heart stents? LOL

I am blessed with many repeat clients and have a New Work Update Email List to which I post new work and projects to old clients. This seems an effective (and free) way to stay connected with my client base…

One last note about embellishments to marketing. I was recently gifted with a WACOM LIGHT TABLET which has greatly increased my ability to reveal my visions to clients. Used in conjunction with my freehand sketches, photoshop, and imported photos of any site in question, it has allowed me to represent in a most realistic manner just what I intend to build for any potential client…



~ou8nrtist2

Status: Member
Sculptor
Male/United States
Deviant since Sep 13, 2006, 8:56 AM


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//*cl2007