There are no “do not touch” signs in my studio. I want the viewers to touch, to see something new, to question what they thought they already knew about art, history or human behavior.

My work is a sort of visual form of social anthropology, populated with strong characters and symbolism. Each piece has it's own story but it's up to the viewer to bring their own personality to interpret that story in their own way. I'm especially drawn to the human form because we can all so readily relate to it. Art is much more than just the buying and selling of objects. It is how I communicate across cultures and time. It's how I add something positive to the world.

HISTORY

I was born in California in 1969 and raised in Idaho but found my home in Seattle in 2002.

The art school classroom was never for me. With books and museums of the world I built my autodidactic education around the masters of the Renaissance, but I am also very much influenced by modern work, especially contemporary Polish and Slavic sculptors. These influences guide my evolution of style forward into a balanced contradiction of classic and contemporary realism.

 I had mysteriously declared my decision to be an artist at the age of just 6 years old and began drawing constantly, but when I started sculpting at age 18 something really clicked. It all made sense to me. I spent the next 11 years working as chief engraver and medallic sculptor at the Sunshine Mint where I participated in all aspects of the minting process from design to production. I headed up the sculpting department at Global Mint for the next 5 years before becoming freelance.

I am absolutely fascinated with bas-relief (say "bah-relief") sculpture because it relies solely on the trickery of the eye for the illusion of it's depth. It is firmly planted in between the tactile qualities of statuary and the illusional possibilities of drawing, sharing skills of both. The technique allows for background images and fine detached detail not accomplished in traditional sculpture "in the round.” Bas-relief has long been used for architectural applications and monuments but today is an uncommon sight in galleries. Uncharted territory is always appealing to the artist and I pursue that dusty corner with enthusiasm, to make it fresh and new.

THE PROCESS

I sculpt primarily in oil clay and plaster. The clay allows for energetic build up of the form while the plaster holds a tight line. The combination of the two steps is what gives my sculptures their particular look.

Casting bronze is a art unto itself. I use fine art foundries for the production of the bronze castings but insist on doing the patina's myself for the final touch.

If you want to learn more about how sculpture is made go to the behind the scenes pages.

COMMISSIONS

I am currently accepting commissions as my schedule allows. I'm always happy to answer questions and give guidance where possible.