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February 1984. Granite, steel. Dimensions: 10 × 9 × 6 ft. Cannibalized by the artist.
Straight from the Top continues my interest in combining raw stone and industrial steel—the natural and human-made—as contrasting but interdependent elements. During this period, however, I was beginning to move beyond sculpture driven primarily by structure. The steel becomes increasingly graphic and gestural, creating a strong directional flow around the massive granite. This shift toward more associative imagery was part of a broader opening in my work during the early 1980s.
The title adds a more expressive dimension to the physical arrangement. Straight from the Top suggests something moving or descending “from above,” reinforced by the sculpture’s dramatic downward thrust from the large elevated steel form toward the stone below. At the same time, “from the top” can imply a higher authority or power, allowing the title to open the abstract arrangement toward a more psychological or spiritual reading without defining it literally.
The work was exhibited in my 1984 solo exhibit at the Diane Brown Gallery, Soho, NYC.
February 1984. Granite, steel. Dimensions: 10 × 9 × 6 ft. Cannibalized by the artist.
Straight from the Top continues my interest in combining raw stone and industrial steel—the natural and human-made—as contrasting but interdependent elements. During this period, however, I was beginning to move beyond sculpture driven primarily by structure. The steel becomes increasingly graphic and gestural, creating a strong directional flow around the massive granite. This shift toward more associative imagery was part of a broader opening in my work during the early 1980s.
The title adds a more expressive dimension to the physical arrangement. Straight from the Top suggests something moving or descending “from above,” reinforced by the sculpture’s dramatic downward thrust from the large elevated steel form toward the stone below. At the same time, “from the top” can imply a higher authority or power, allowing the title to open the abstract arrangement toward a more psychological or spiritual reading without defining it literally.
The work was exhibited in my 1984 solo exhibit at the Diane Brown Gallery, Soho, NYC.