

Biography
| Born
in 1944 at the end of the Second World War, I grew up in the 40s and 50s
when industry was thriving and technology was advancing by leaps and
bounds. My grandparents had immigrated to the United States in the 1900's
from Transylvania to work in the steel mills in western Pennsylvania. This
environment played an important part in my development as an artist. I
have always held a fascination for metals and have used industrial
techniques throughout my career. I was a typical teenager, interested in
football and cars, but I also loved to draw and took art courses. My
father encouraged the football and my mother supported my interest in art.
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When I graduated from high
school I wanted to go to art school, but my father didn't think this was a
secure way to make an adequate living, so I compromised and applied to
Cleveland Institute of Art's Industrial Design Program. My interest in
cars and art made designing for the automobile industry a good fit. CIA's
curriculum was very well rounded. When I graduated I had a very extensive
fine art background, as well as being trained as an industrial designer. I
was hired by Ford Motor Company in Detroit, Michigan and spent a few years
in their design department. I eventually decided the corporate world was
not for me and moved to a small design firm. During my time there I got a
call from a friend at Georgia State University offering me an
assistantship in the Sculpture Department. Sculpture was my first love,
so I accepted the assistantship and moved to Atlanta, Georgia in 1971 to
pursue a graduate degree in sculpture. |
| Georgia State University
began my exploration in sculpture. My industrial design training proved to
be an advantage. I had access to many industrial tools, techniques and
materials, along with art and design training. During this time I was
exposed to different kinds of sculpture techniques, but found myself going
back to the training I had in industrial design. I like the industrial
techniques used to assemble machines and I found myself using them in
building sculpture. Alexander Calder is one of my favorite sculptors. His
work inspired me to use a pallet of bright colors available in automotive
paint. |
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| These early
pieces were a combination of industrial techniques and materials, but also
design exercises using forms that I found interesting. Within the
industrial design community there was always a dialogue regarding "form
follows function". I was very interested in these discussions and found
myself wanting to design sculpture that also had a function. |
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After completing my master's degree requirements and
leaving the nurturing institution of higher learning, I was faced with the
problem of how to exist in a world in which mere survival takes precedence
over aesthetic sensitivities. My first inclination was to return to
academia and teach, but sculpture continued to lure me. I rented studio
space in the industrial area of Atlanta and began to enter shows, talk to
architects and designers and found that there were those who appreciated
my work.
I received some large sculpture
commissions and learned how to execute large projects, including the
political, economic and managerial requirements. I liked doing these
projects, but also needed to develop my sculpture in the atmosphere of my
own studio. |
| I
was asked to design and build a dining table by an architect and his wife.
They wanted something very playful and unique, but also functional,
designed specifically for their modern home. I had always been interested
in the challenge of designing products that not only perform their
function well, but also were interesting sculpturally. This dining table
was the first of a body of art furniture pieces that I did over the
following fifteen + years. During this period I designed and built
one-of-a-kind tables, chairs, lighting fixtures, desks, garden benches,
beds, and other functional items for the home.
I believe with consummate craftsmanship and an artist's eye,
objects can be many things. The important thing for me is that the work
provides both functional and visual excitement. |
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Success with the art
furniture pieces afforded me a large, well equipped, fabricating studio. I
was recognized within the architectural community, as being able to build
well crafted and well designed metal embellishments for a variety of
environments.
My studio was given over
to doing many commercial jobs as Atlanta grew. The art furniture pieces
were being sold in galleries all over the country and I had the
opportunity to do some very interesting large scale sculpture commissions. |
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| As the studio
grew and demands on my design time for commercial jobs became more
pressing, I had less and less time to explore and develop my own
aesthetic, and each project, commercial or otherwise, became more a design
exercise than a new creative challenge. I decided to sell my fabricating
studio and move to the mountains of North Carolina where I would have more
free time to explore and develop my sculpture. |
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Before moving
to North Carolina, my wife and I traveled to Taos, New Mexico located in
the southwestern United States. For the next nine months we worked and
studied with an architect building sustainable houses on the high desert.
For years we have been interested in the environment, sustainable housing,
better land management, healthier growing practices and generally living
closer to nature while doing less damage to the environment. We gained
many insights and much knowledge through this experience. While in
NM we also explored the aesthetics and culture of the region. We plan to
continue traveling and learning about this part of the country. The
community in North Carolina where we have settled is near
Penland School of Crafts.
Penland is a well known and respected art school. It has a community of
artists and craftspeople that I can interact with. The past four years
living in rural North Carolina has been a refreshing escape and has
enriched my life and my art tremendously. |
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After our move to NC, I
became interested in "time", not only as a concept, but also as a
metaphor. I started a list of statements with the word "time" as the theme
and realized it was endless. The importance humans place on the keeping of
time is unprecedented. While the world around us keeps time with natural
rhythms established by the length of a day and seasonal changes, we
measure time even more closely. In our desire to save time, or make the
most of time, we have divided time into smaller and smaller parts. My
fascination with the list of time phrases has become the inspiration for a
series of sculptures. The time phrases became metaphors for images
depicting a humorous concept for the time phrase. The new series of work
has offered me the opportunity to play with function while satisfying my
desire to produce sculptural images using the human figure as part of the
composition. |
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Since my undergraduate
studies at Cleveland, where figure drawing was a major part of the
curriculum, I have been interested in the human form.
Recently, a client asked me to design a panel or screen that
incorporated a sink, to hide a toilet that was in a small bathroom. Since
I had been working with the human form, I decided to place two figures in
the room, one of which is seated on a stool holding a basin which acts as
a sink, while the standing figure is holding a pitcher which functions as
the water spout. When I do a design of this nature, I want the client to
be very aware of what I have in mind. Building in metal is expensive and
doesn't leave room for error, so designing with good sketches, doing
architectural drawings with proper dimensions and building a model helps
to secure the commission and calm a client's reservations. I learned these
techniques in my industrial design courses, used them with all my clients
when designing furniture pieces and still use them when thinking about new
projects. |
| The new series of work has been
challenging. They mainly consist of time pieces, but I also have been
building mirrors, which I feel are part of the “time” series. Nothing
shows time more than a mirror. I find when looking at sculpture today, much
of it is nothing more than design exercises. I feel very committed to
doing more than that. I want my pieces, whether functional or not, to be
personal, to be well crafted and to lend themselves to the imagination,
not just pacify. If they are controversial, so much the better, design
exercises are rarely controversial. |
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I love my material, all kinds of metal: steel, stainless steel, copper,
bronze, aluminum and I have used them all in my work over the years. The
materials may be old, new, used, rusted, painted, found and often given. I
love the fact that it takes an extreme amount of effort to move around, to
cut, to grind, to sand, and to finish. When finished, it is an incredibly
durable object. I even have an intense fascination for the tools and
equipment that help me in my process and spend a lot of money and many
hours repairing, cleaning and maintaining these tools and machines. |
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I also love incorporating other materials with the metal. When I build
furniture I often use glass and have grown to have an appreciation for it.
I have also used wood with metal, which always gives me a new appreciation
for woodworkers. One challenge is finding ways to assemble other materials
with metal so each maintains its integrity and does not detract from the
other. I like the hinges, bolts, nuts, screws, and complicated attachments
that hold the sculpture together. Some sculptors start with a whole and
take away. I fabricate, cut out pieces and assemble them. Another
challenge is how to put the sculpture together so it functions and is
aesthetically pleasing. I like paying attention to details and often get
very carried away with intricacies that I know no one will notice. This is
part of the process I enjoy. The process is what it's all about for me.
It's the fun part of being an artist. The reward is the finished work. |
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