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October 1996. Bronze, granite. Dimensions: 13 × 18 × 5 in (33 × 46 × 13 cm).
Private collection - Philadelphia
As a sculptor, I have always been fascinated by tools, implements, and instruments. I see them as extensions of the hand—essential allies in the act of making—and am drawn to their raw, efficient beauty, shaped over time by function and necessity. They also embody human ingenuity, labor, and our impulse to shape and engage the world around us.
Throughout my work, agricultural implements—rakes, plow blades, sledges, and tillers—as well as anvils, scales, compasses, and other instruments become both sculptural forms and vehicles for metaphor, suggesting ideas of balance, navigation, transformation, and our relationship to the natural world.
Horns and Antlers
I am also is drawn to horns, antlers, and nautilus-like forms because nature has already endowed them with an extraordinary geometric logic—the arc, spiral, taper, and expanding curve. Cast in bronze, these organic structures become part of my constructed vocabulary, moving freely between natural form and human implement. Their long cultural associations also allow them to evoke classical mythology—from the cornucopia and Amalthea to broader ideas of strength, abundance, survival, and transformation—without becoming literal illustrations.
October 1996. Bronze, granite. Dimensions: 13 × 18 × 5 in (33 × 46 × 13 cm).
Private collection - Philadelphia
As a sculptor, I have always been fascinated by tools, implements, and instruments. I see them as extensions of the hand—essential allies in the act of making—and am drawn to their raw, efficient beauty, shaped over time by function and necessity. They also embody human ingenuity, labor, and our impulse to shape and engage the world around us.
Throughout my work, agricultural implements—rakes, plow blades, sledges, and tillers—as well as anvils, scales, compasses, and other instruments become both sculptural forms and vehicles for metaphor, suggesting ideas of balance, navigation, transformation, and our relationship to the natural world.
Horns and Antlers
I am also is drawn to horns, antlers, and nautilus-like forms because nature has already endowed them with an extraordinary geometric logic—the arc, spiral, taper, and expanding curve. Cast in bronze, these organic structures become part of my constructed vocabulary, moving freely between natural form and human implement. Their long cultural associations also allow them to evoke classical mythology—from the cornucopia and Amalthea to broader ideas of strength, abundance, survival, and transformation—without becoming literal illustrations.