Rodin: “What did you tell me? What were you trying to say to me as I studied you all those years? Human emotion in movement!”

Moore: “How far were you saying I could push the planes, the positive and negative space? Push the form to the edge but don't ignore the human experience!”

                Brancusi: “Simplicity? Yes!”

            I learned from all your voices to combine the way I see in a cubistic-geometric way, with a recognizable sense of humanity while pushing towards abstraction—in essence, to combine figurative and abstract without losing the human emotion—so as to capture movement in stillness.

            I see the emotion in form, the hard lines, the curves, and allow them to carry the human condition through and around those negative, positive spaces. I am concerned, as I think Rodin, Moore, and Brancusi were, with the fine line between the individual and humanity and how to achieve this without succumbing to sentimentality. This is one of the great puzzles figurative sculptors face. My approach is to let the form carry the emotion.  This is not often undertaken in abstract, contemporary sculpture today, at least in terms of love, kindness, and beauty.

      My objective as an artist is to create a piece that is not a static pose, but one where the hard metal becomes the flesh and bone of humanity; to reveal a strong sense of universality and invite a personal identification, to capture a moment, a quality of pureness, and allow the viewer inside the work to identify each in their own way with the story.