I feel that carving is a method of drawing in three dimensions, not by drawing on the surface of the stone, but by bending the lines which define it’s overall shape, thus affecting its gesture. In doing so, I hope to create physical illusions of animation and the energies within.
The gradual nature of the process, do to the resistant nature of the material, gives rise to an ever changing number and variety of forms, all in various stages of development. I try to instill, in the many separate areas I am simultaneously working, a sense of belonging, and a contributing force to its maturing form.
Forms in nature were made by nature. There seems to be nothing contrived. Organic sculpture, I feel, is not just about the evolving shapes and for me, the usage of earth’s materials, but also, the process. The method of carving as well as the tools used, provides a sensitivity unique to its approach.
As with nature, we must be not only receptive, but encourage and promote change. Without change, growth stops.
Whether it is a block of stone or part of a tree, I will find an area of interest and begin there, which will eventually lead me to new areas.
I realize that it is natural for us to design and plan, and for me, that is how it started 45 years ago. Today, that is not the case. My evolving journey was natural and without intent, a product of time I suppose. And with time I have come to respect the hidden character within the pieces on which I work.
I attempt to develop the various areas of a piece independently but with a sense of inner dependency on one another. With a sense of belonging and contributing, they will mature and appear as one at some point. No longer with separating boundries, real or imagined, the form stands alone, unique unto itself.
As I work many areas at once there is seemingly always a prevailing thought of a movement or gesture that works with the piece. With that, I attempt to develop shapes with an animated sense of energy, displaying forces that are either receiving or repelling in their relationships. In doing so, its many forms, positive or negative, exist in response to one another, in much the same way the muscles in the body change shape in response to various movements. This creates a constant tension over the entire surface of the piece as well as a feeling of overall continuity.
It is not enough that forms should relate to one another; they must also function as an integral part of the whole image. I try to develop a overall sense of rhythm to which all the parts are contributors.
The nature of art is change, as is the nature of growth. Embracing change with the freedom to express provides for a healthy development. There are no “mistakes” made. A piece is finished when it requires no change. It is finished not because the right decisions have been made, but because there are no decisions left to make.