I would like this entry to start a forum for discussion of my process, and questions about my present work, and future possibilities. First, let me talk a bit about getting to the present state of my sculpture career.

I have always had an interest in drawing, and went public early, when a drawing of a sailing ship made the cover my 8^th grade yearbook. I took a formative engineering drawing class in my first year of college, and continue to use these techniques in my design process. Further on in my university studies, comparative and human anatomy formed a lasting interest in organic form.

My background includes a 12-year academic experience at the University of New Mexico School of Medicine, which thoroughly shaped the rest of a 25-year practice of plastic surgery. My interests in sculpture predated, and proceeded concurrently with my medical practice, and these parallel vocations benefited from a frequent cross-over of ideas, and a long apprenticeship in sculptural aspects of the human body. In 1996, I decided to devote my full energies to my sculpture career, which allowed me to get involved in the public art process.

While my sculpture is not always suggestive of the human figure, it invariably has anthropomorphic aspiration, and many of my sculptural ideas have originated from objects found in nature to which I give a human quality. The design of this work comes from a natural form removed from its context, and transformed by drawings and three-dimensional imaging into a shape with new meaning.

I also plan to use this medium to introduce recently completed work. Here’s a description of the header image.

“Vessel II”, African mahogany/ limestone/ bronze, 8” x 15” x 11”, 23#, 2011

I have always liked the form of “Vessel” inspired by a seedpod. This transformation involved a move back to working in wood, and its combination with limestone and bronze. Here, a gorgeous African mahogany shapes the hull of the vessel, and is split by a plate of bronze forming the prow and stern. A bronze plate supports “Vessel II” and keys into a bronze inlay of the tiered limestone pedestal.