‘In the Sand’—A full relief portrait in hard composite, coated in pearlescent automotive lacquer.
This trio of iridescent polychrome castings ‘Pink Dancer’, ‘Blue Artifact’ and ‘Golden Maat’ blaze in the high Colorado mountain sunshine.‘Leslie’—a wonderful portrait of my dear longtime friend, Leslie . This piece is also featured on the home page of this website.‘Leslie’—The original clay with a wig makes an unbeatable combination.A rear view of the original unfinished clay under a different light. Have you seen any clay look as life-like as this!!!In bronze the surface just screams.This is carved into a 3 foot across cross section of an old walnut tree. It is not quite finished.
‘Leslie on the Mountain’—This is the mock-up for a 450 foot long portrait of Leslie for the Bricklin (Roosevelt) Ranch. Malcolm hired a bulldozer with driver for me. I rode on top of the massive mound immediately in front of the moving D9, Caterpillar’s largest at the time, directing the driver where to deposit each multi-ton blade-full of dirt. This was an awesome experience, standing in the immediate close path of this belching-moving-monster, waving instructions to this wonderful man. The driver and I using this technique, actually sculpted the earth over a few weeks’ time, into a rough shape similar to this clay mock-up, yes, 450 feet long. It was to be refined with a smaller machine and a ground crew using shovels, then to be covered and detailed in sprayed and troweled steel reinforced concrete. The rough shape in dirt I am sure is still there, but sadly, not the concrete, steel or the details.‘Leslie Heart Box’—Silver figure on patinated bronze box. About 4″ across.A closeup of the ‘Leslie’ clay with a wig.
‘Sabrina Dancer’— My dancer pal. May she dance as beautifully as this forever and ever!Another view of ‘Olive’.
‘Olive’—A Venus-like reproduction of ‘Dancer’ carved from an olive tree root ball grown right here in Topanga, with polyester inlay. I dug up the stump myself. The polished surface feels incredible to the touch. They made Louis IV furniture out of this stuff.
Proud me beside a bronze of ‘Dancer’. On the right, the original clay. I love the clay pieces; too bad that they get destroyed in the mold-making process.
Venus-style polished bronze casting of ‘Dancer’. This photo was taken in deep Colorado snow in bright sunshine. The temperature was about zero. The white of the snow overpowers the bronze color. If you look closely, the little black lines on the piece are reflections of me while I took the picture.Pearlescent blue says everything.‘Tushy Corner Piece’—Composite with pearlescent lacquer. Can be displayed as a table sculpture or can be mounted on the wall, in a corner. Corners in a room are famously bare and neglected.‘Tushy Corner Piece’ on a table mount.Another view.A good shot of the first iteration of ‘Maat’ without her steed. Those are real peacock feathers on her head.Look carefully and you can see an elaborate series of cracks throughout the surface of this casting. I have no idea of how I achieved this cracked surface or I would do it more often. I meticulously filled each crack, keeping the red filler carefully within each opening. This one of a kind will then have bronze arms, legs and head. I am looking forward to finishing this one! The head will be the bronze one shown below.I love the power emanating from this image.Her powerful back is a pleasure to behold!!!‘Maat’ figure with the new head, and headdress. This is in polished bronze. Note the lower right of the pharahonic headdress has a testing of blue bars between the metal horizontals. This test blue will be replaced with a deeper blue on the full headdress. There also will be further color accents and a pharaoh’s beard will be added along with the asp and falcon, on the headdress in front, and on top.A rear view highlighting the detail on Matt’s headdress.‘Comet’
‘Pelvis Portrait’— in iridescent lacquer coated composite.Life size portrait of Leslie’s chest in the original clay. This is not a body casting—it is fully hand sculpted. This view is of the unfinished piece.The cast piece in white composite.‘Artifact’—portrait in golden pearlescent.
‘Pelvis Portrait’—cast in composite and coated flat white.
Side view of ‘Pelvis Portrait’ in pearlescent white lacquer.‘Heart Box I’—This version was cast in pewter.
This shows the lid open. The box has a delicious deep red velvet liner that is lost in deep shadow. A little over 4″ across. I also produced this piece in bronze, which has a very shiny, highly polished surface.‘Heart Box’— This copy is made in composite with a red pearlescent coating.
I call this one ‘Petite Venus’—2 1/2″ tall without the base.‘Petite Venus’—in composite with pearlescent coating.‘Petite Venus’—back. I love the pearlescent look.‘Landing’—A fanciful portrait of a beautifully proportioned woman, thin enough to fly. Here she is, lightly touching down.‘Landing’—a good shot revealing how good the face turned out.These are the freshly cast pieces for ‘Landing’ before I had to weld them together, fill the blemishes and polish‘Landing’—patinated bronze.Me many years ago, holding the beginning step to make a mold for the hands for ‘Landing’.‘Landing’, the original clay piece, just before making the mold.‘WA I’—in terms of number of sales, my most successful sculpture. This copy in pearlescent lacquered composite.‘W A II’ butt fragment.‘W A III’ another version of the theme.‘W A I” Black on black.‘W A I’ pearlescent white on composite.
