Page 178 - "he 2020 Guggenheim issue of World of Art Contemporary Art Magazine

I found that wood allowed me to create a visual picture and was
ENABLE US TO SEE, 2018-20 MIXED MEDIA / WALNUT EBONY STAINLESS WIRE SCISSORS Ø42 IN. | Ø106 CM.
also more forgiving than either stone or glass. Simply put wood
THE SENTINEL, 2018-20 MIXED MEDIA / 7000 MOSAICS ON MAPLE BURL 8 FT X40 IN. | 243X102 CM. sculpture is my primary vehicle for artistic expression. I also
unknowingly discovered through many European travels over
THE DINNER YOU MISSED, 2018-20 MIXED MEDIA / ASSEMBLAGE /COLLAGE: BRONZE, WOOD, GLASS,
PAPER, STONE, ANTIQUE RARE FOUND OBJECTS) 72X48 IN. | 182.8X121.9 CM.  20 years, that I had exposed myself to every major museum
that crossed my path; sculpture moved to the forefront of my
art appreciation. I had a special affinity to Abstraction, and
I am a self-taught artist merging 30 years of professional wood Surrealism.
working with a serious appreciation for all types of art mediums
and styles. My sculpture is an amalgam of various exotic wood and Moving to a featured work “Feather Driven by a Wheel” the
antique (1880’-1920’s) scavenged sculptural objects. viewer can immediately see the synthesis of my artistic
During my earliest art experience from 1978 to 1987, I trained at a experiences. At first I hope you will see the overall impact
stained glass studio in San Francisco. At that time executing about of the sculpted wood wheel and juxtaposed vertical feather.
175 flat panel windows- I later started “Flying Rooster Glass Works” However, with further examination the 1870’s antique American
making sculptural stained glass weather vanes- with an emphasis stencil press and old German sewing spindle become an
on roosters, mermaids and abstracted wind blown forms. integral part of the movement between the wood and steel
In 1983 my mother introduced me to stone carving; however I wheel interplay.
quickly tired of the loud noise, dust and the heavy labor of moving I paid particular attention to the black iron stencil cutter when
100 pound marble, slate and onyx around my now filthy garage. I carved the ‘Redwood’ burl platform beneath the wheel- then
Initially, making furniture was a exciting but I tired of the used ebony oil to stain the wood so it became part of the iron
redundancy and commitment to traditional forms creating symmetry. The intentional use of the carved ‘Maple’ wood
household objects like tables and chairs, which really didn’t push wheel was necessary to create color contrast and thus elevate
me. Somehow, standing in a wood shop creating a dining table or the feather to prominence. I used the exotic wood ‘Wenge’
rocking chair could not compete with the freedom of expression I because it has a natural feather grain which offered a dark
experienced with sculpture. contrast to the wheel.

178 WORLD of ART