Sexy Sculpture “Self Love’—Made from a pink driftwood log found by me on a Staten Island beach. This is the 3rd wooden piece that I carved. It depicts a penis, penetrating itself with appropriate anatomical features. ‘Desert Plum’—Made from a root ball of California Desert Plum, the hardest wood that I have ever encountered. With red and pink epoxy inserts and polyester polychrome inlay. I think it is one of my best pieces—and she can reproduce herself! This piece was started at the same time as ‘Self Love’. It was finished 20 years later, partially because the twist of the neck was really a challenge to visualize and carve without making mistakes. Patience and persistence payed off! These are my first two wooden sculptures. The first one is made from Tulip tree wood and is the one on the right. The one on the left, was the first time I used a polyester inlay, using a different color than the natural color of the wood. In using this technique, I intend to celebrate the flaws and missing areas in the wood; rather than trying to cover them up, I accentuate them! I also take care, making sure that the interface of the natural flaw and the inlay, does not have carve marks on it. Two early sculptures ‘Desert Plum’—right after completion. She shines brightly in the 7,200 ft. high altitude sun and the 10,000 ft. high snow covered mountains in the background. ‘Desert Plumb’—from the rear shows extensive inlay, filling in areas that have no wood. ‘Portrait Candle Holder’—bronze casting. Another view. This little ‘Happy Trio’— were meant to be together from the start. They, as a group, comprise my forth wooden sculpture. ‘Galactic Transengenital Escargot Rider at Warp Speed With Pet Schmeckel’—- This was sculpted in a CAD program, 3D printed in nylon and hand colored by me in iridescent gold lacquer. The shell of the escargot space steed is covered in 24 carat gold leaf. I really love this piece. Top view of ‘Escargot’—‘Schmeckel’ glows from space friction also. ‘Rider’ is protected from the friction of the extreme space-time-distance-warp by the sheltering wake of ‘Escargot’. This picture is 100% computer generated. It would be quite difficult to attain this degree of reflectiveness (but not impossible) in real life. Another computer generated view. A view from underneath. Front view of ‘Escargot’ showing the red hot bow of the escargot space steed. The iridescent red is due to the friction of space at warp speed. Of course like most all things in ‘smoke & mirrors’ Las Vegas, the gallery used the computer generated image instead of a picture of the real piece. Oh well—-it does look pretty good on the page! ‘Clouds’—An iridescent polychrome thin shell of fiberglass suspended by a thin steel wire. Yes you can faintly see the wire in the photo, and yes, that is where it is suspended from. ‘Clouds’—Front view. ‘Narcissa’—This is a depiction of the first woman, who is intelligent enough to wonder what she looks like ‘down there’ and figures out how to accomplish this feat. She is seeing her genitals for the very first time, in a reflection in the water. The vision comes to life, depicted here, by the shape of the birdbath that she is kneeling in. Another example of the original clay being beautiful. ‘Happy Trio’—Bronze castings. ‘Eve’— Bronze casting. First I have to state, “I think that ‘Adam’ being first is just ridiculous; women always give birth to the new.” Here, ‘Eve’ is bringing ‘Adam’ to life in his alter-ego form. Note: ‘Adams’ body, of course, starts with the apple at his tail. Also, note the Michelangelo’s ‘Creation Gesture’ on ‘Eve’s’ hand. Their tongues are touching—he has huge fangs. ‘Eve’—in polychrome composite. Note the touching tongues and the apple. No stem and leaf yet. This is the freshly un-thawed snake, and the clay figure that I assembled together for this pre-embedding photo just before putting them in the mold cavity. I bought the snake from a wildlife farm a few miles from St. Augustine, where my parents lived. I chose it from a large stockpile they had in the farm freezer–already frozen! Another view of the unfinished bronze. ‘Eve’ and me in the first stages of modeling the clay. This picture was taken by the model. ‘Walnut Self Love’—Carved using a charred walnut tree stump found on a Staten Island beach. I know it’s hard to make out what is going on here. First we have the body, which is a glorified tongue, waving the air in ecstasy, entering back through itself between a separate thin shell of ascending mouth lips. The body of the tongue is entered through descending, enveloping pussy lips, exiting through a featureless slit—-with breasts. This was a particularly difficult piece to carve! This shot shows a little better detail. ‘Mesquite Piece’—This is the third major piece that I made. A depiction of eternal male ecstasy. Mesquite wood with polyester inlay. Ejaculate is epoxy. Made from a ‘Cats Claw Mesquite’ root ball. I was camping on the beach in eastern Baja Cal. As nightfall came and as I was lighting a campfire, the really nice beach owner came over and handed me this small stump and said that it would burn all night. After thanking him I thought to myself this will exist for a lot longer than that. It was perfect for carving! The sculpture starts as pure inlay and ends up all exquisitely hard wood. ‘Leaping Vulva’—A copy of this piece is displayed at the World Erotic Art Museum in Miami. This is cast in patinated bronze. ‘Leaping Vulva’—Composite with pearlescent coating. The whitish pearlescent has a distinct pink sheen to it. ‘Maat’—Maat was the very ancient Egyptian head goddess. When the system was changed into a male dominated system, She was demoted to the charioteer who drove Ra across the sky each day. The snail illustrates the slow progress of the sun each day. Maat is unusually strong, able to control the beast. We see her here in my first iteration of this tale. The snail shell will, in the second iteration, be round and all golden (like the sun). Her headdress is different. as shown in the adjacent pictures. 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 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 of course be the newer one shown below. A good shot of the first iteration of ‘Maat’ without her steed. Those are real peacock feathers on her head. I love the power emanating from this image. ‘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 blue will be replaced with a deeper blue on the full headdress. There also will be further color accents and a pharaohs beard will be added, with the asp and falcon, in front, and on top of the headdress. ‘Skidding’—in bronze. ‘Skidding in for a Landing’— This was inspired by a Walt Disney Movie. It is a wildlife flick and there is a scene in which there are a flock of ducks that are trying to land on a frozen lake. One duck in particular, stuck in my mind. ‘Little Bird’— This happy bird about 4″ long flies happily about. ‘Hermaphrodite Dancer’—This little happy character has a little bit of everything. ‘Candle Holder’— One of my earlier pieces, made from a small log of Sassafras wood. I left the bark on and filled the irregularities with a polyester inlay. ‘Heart Box 3’—Open, showing the velvet interior. ‘Heart Box 2’—Another version of this theme. ‘Heart Box 2’—Bottoms up again. ‘Heart Box 3’—Bottom side up. I think that my tool holders are the best. My tool caddies are very eye catching in my studio, as well as being very practical. The other side. These were carved in clay and cast in polyurethane rigid foam. This is from one of the 40 portraits of men who responded to the Village Voice article below. I decided to make the portraits depicting the last 1 1/2 inches of my subjects to avoid probable complications concerning size and egos. About 3 to 4 times life size put smiles on all my posers! One of the 40 portraits that came about from men responding to the Village Voice article. About 4.5″ H. This is a shot of the full set of ‘Portraits’ circa 1978. I made this piece as a personal discovery piece. To my knowledge, when I started this, it was the first time anyone had done an accurate study of human female genital labia in three dimensions. They are all sculpted at about twice life size (about 8 times the volume). This translates to each individual sculpture measuring approximately 6 to 7 inches long. When I started this project, I had no idea that every woman is so completely different in shape. Click on the picture and you will get a detailed high resolution view of the uniqueness of the female flower. Fascinating!!! This set was made mostly with models who responded to the Village Voice article below. This is the article from the Village Voice that resulted in helping me have well over one hundred fifty models pose for me in 1974 and beyond. A lot of the information in this article was made up by the reporter. He at least got my phone number correct! Better image of World Erotic Art Museum copy of ‘Portraits’. Me next to ‘Portraits’ at the opening of the World Erotic Art Museum in Miami FLA. (WEAM). This set was originally made for Betty Dodson. She designed the layout. Later, the set found it’s way back to me and I re-designed the layout and they as a group ended up at WEAM. This is a public showing. One of the first series of wooden carvings. This is near the top of my all time list of favorite carvings. Here, ‘Veri’ is unstretched. In bronze. ‘Veri Knotty’ –this portrait of porn star Veri Knotty shows the potential for knot tying. ‘Lost Toe’— a fanciful fetish piece. Interesting concept—an egg being able to give birth to itself!!! A ‘Portrait with great pearlescent color. ‘Egg Portrait’ cast in composite with pearlescent coating. ‘Flame’—Penthouse Magazine sent a model to pose for me, apparently to write an article. A photographer took pictures but nothing came of it. I at least have a sculpture. ‘Puzzle Butt’ fully assembled ‘Puzzle But’ partially dis-assembled. Both hands can be separated their bases. Rear view. The candy color really jumps out on this ‘Portrait’. A fanciful ‘Hermaphrodite Pipe’ Another view of ‘Hermaphrodite Pipe’. A portrait with gold leaf finish. A raw casting before paint. One of my stone ware ceramic pots. There were about 25 or 30 made from a slip cast mold and high fired. another view ‘Butt Paperweight’. ‘Butt Paperweight’—in pearlescent coating. Female ceramic bowl. This was started in the seventies; The more I work on it the more complex the idea becomes. And so—it continues to evolve. The wood when finished and brought to a fine polish, will have a lighter, golden iridescent almost glassy hue. I polished a small section of the wood to check the appearance before I even started carving. The wood is from a dead ‘Desert Willow’ root ball from the California Desert. A whimsical polychrome wood carving. About 4 inches long. Side view.