The body at rest or in motion is an endless source of inspiration for me. I can appreciate an interesting face, a graceful gesture and a magnificent wild animal and—vey simply—  I enjoy trying to capture those subjects in clay.

Unlike painting, sculpture is tactile. It’s what first attracted me to this medium. There is something about putting hands directly to clay.  When I look at figurative sculpture, I cannot resist a loose surface. I love to see the hand of the sculptor in the clay– I love to see his fingerprints and his tool marks. I want people who look at my work to want to touch it and feel the textures. I leave my surface loose and ‘rough’ for this reason.  I don’t want to  ‘finish’ the surface by refining or sanding.   I am trying to catch a moment in time; a gesture, a mood.  Whether it is a quiet moment or a broad action, I want to try to catch the figure quickly and be able to walk away from it before I begin to overwork and overthink. I  think my background in animation taught me alot about gesture and pose. I try to take those bits of information I picked up while working as an animator, and try to incorporate them into my sculptures.

Trying to achieve correct anatomy is paramount to me, although I feel I could study animal & human form for years to come and still not scratch the surface.  I try to describe the muscle groups and basic bone structure using as few strokes of clay with as little refining as possible. I feel like the broad application of the clay–quickly putting down what is in my head or what I see—is what will give the works movement and life. Describing the rib cage of a lion or the back of a woman with a few soft bits or slabs of clay–and having it look correct to the eye— is what I’m striving for.”

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