"I've always loved working with my hands. I've always loved building things. When I do art, I just allow myself to do it. I just let my hands do it. And lo and behold, my hands do it.
I was very fortunate to have grown up in a creative family in some way, shape or form. I have been fashioning material since I was a child. You know, I've been all over the world and there are a lot of beautiful places. And I think often times we forget that Maine is one of, and what inspires me about Maine isn't just its natural beauty, but the untainted nature of it, there's a sense of purity that's here that doesn't exist elsewhere. Biophilia it's it's, it's our innate connection to the, to the natural world. I've always worked in natural material. There are three fundamental materials that have been with us since the dawn of mankind; it's wood, stone, and clay. Those three things we've fashioned in some way, shape or form since we could put tools together. And those are the materials that I use making a lost wax sculptures. It's a fusion of high-tech and no-tech, it's been largely unchanged since the bronzy same process.
This is really the fun part. When you're done sculpting, you've only just begun then it's cast. Oh, it's fascinating.
The human form is what's at the core of most of what I do. It's just a beautiful creation. It's a wonderful form. I see it everywhere. It's our interpretation of the external world and it's the vessel through which we interpret the outside. So I kind of approach the world as a human and I interpret things in every way. Anthropomorphically and you have to ask yourself what it means to be human. There is an emerging narrative that all of my pieces have once you start putting them together and you can't see it in the physical form, that you can see it in the postures that I choose their emotional positions. So you can see I'm, I'm a bit tormented. They're answering some kind of a mental language of vexing that I have in my head that if I had better words or if I were a painter, I might be able to paint them using colors in a color palette.
It's cathartic. I make things because it's cathartic for me, built up pressure. That's released when I make something, I know that I've created
Something that will last my lifetime it'll inform future lives. You know, there's a lot of pride when you know that you're informing the way people live. That's, that's a privilege that's privileged to come into someone's life and inform who they are. I wish I could specialize. I knew I was screwed when I was about eight that I was going to be vexed by a lot of ideas. I knew that it was not going to be restful for me. If we are the sum of our experiences, then we owe it to ourselves to do accomplish as much as we can. So I don't think I want to master anything for the longterm. I think I'd rather pick from the buffet. You know, maybe down the road, my daughter will take a look at all the pieces that I've made and she'll be able to put them together as chapters in a book and understand a little bit of what was, what I was thinking about."
Learn more about this artist:
Maine Home + Design magazine article