My work derives from a strong background in human anatomy, and an ongoing study of organic form. While not as tangible, the otherworldly light and vast spaces of New Mexico have intensely influenced my artistic development. For the past fifteen years, my studio has been located in the foothills of the Manzano Mountains above Albuquerque which have proven to be a treasure trove for found objects and rock formations.

While my artwork is not always suggestive of the human figure, it invariably has anthropomorphic aspiration, and many of my sculptural ideas have originated in found objects given a human quality. I continually search for organic forms in their natural environment, and am initially attracted to something by a shape visualized within it. A shape within a shape is extracted from both its surroundings and its context, and is transformed by drawings and three dimensional imaging into a form with new meaning. I utilize stone or hardwood to carve the long flowing curves with strong edges and negative space that often characterize my work. Finished pieces in these materials may serve as prototypes for bronze casting., I also have a continuing interest in geometric form, and my geometric sketches (aided by some early training in engineering drawing) occasionally find three dimensional expression.

For twenty five years, I was involved with dual careers in sculpture and plastic surgery. In 1996, I elected to devote all of my resources to my artwork which allowed me to apply for public art commissions and create monumental pieces. Since that time I have received and successfully completed five site specific public art projects. These commissions have required both the creation of signature works of art, and an incremental involvement with the integration of the art work into the design of their respective sites.

I often weave a story into the installation of my public sculpture. Stories expand in their retelling and play a large part in the demystification of public art, and in the recognition of the artwork as a focal point of its site. Over the past several years I have created individual works consisting of multiple interrelated pieces meant to arouse curiosity and encourage closer viewing.

A series of sculptural vessels (custom cremation urns, and companion cremation urns) has recently been integrated into my work. The concept has evolved over five years of design and completion of specific containers. The pedestal for a finished work becomes the vessel itself, while the sculpture serves as its handle. The design behind this work has followed my organic minimalist focus.

Michael Orgel