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The Sculptor
From the time my working with Eva Hesse ended, I knew that my ambition was to become a sculptor in my own right - a Great sculptor! The art world that I had just touched through Eva was innovative, challenging and above all, alluring. Another big plus for me was that I love to build things from scratch with my hands, using if needed, any appropriate tool that I can get my hands on. My challenge was how to be the first to fabricate that 'something’ unique, make it aesthetically pleasing and do it in a three dimensional format. The biggest hurdle was identifying that unique ‘something’ - a theme which will both hold my interest and continue to challenge, over the long run. To me, using the human form is the biggest challenge of all, therefore it became my subject matter. I make this observation because the image we are the most familiar with, happens to be, ourselves. To be innovative within the myriad of human likenesses that have been crafted before me, becomes quite the test. I showcase parts of the body that are usually hidden, in order to catch attention. The more intimate, the more it fascinates. The closer the focus, the more surprising and primal the form. Everyone has their own unique shape! For instance, the human male and female flowers are beautiful, take on myriad shapes and forms and are rarely seen purely in an abstracted context. I strive to combine form with emotion. I break down body shapes into a flawless, joined series of classical ‘3D French Curves’. Technically they are called NURBS surfaces. The contours appear to be entirely smooth with no sharp corners, yet have recognizable, accurate, approachable detail. In much of my work, I use highly polished, highly refined, reflective surfaces in bronze, stone, wood or lacquered composite, applying unexpected vivid color inlay to flaws in the material where there needs to be a continuation of the flawless surface. The wood that I choose to carve is extremely hard and grown mostly in an arid climate. I seek out tree root balls with as many worm holes as possible without it being rotted. I like to emphasize the flaws and wormholes, sealling them with multicolored filler, contrasting the hue as much as possible with the grain and the tone of the wood. The patched, continued surfaces again are highly polished and refined. I believe my sculptures transcend the label of erotic or sexual art. They are studies of unexplored form with flawless topology, presented in an unexpected format. They are being sexy without depicting the sex act.
