November 6 2014 Weld of the Week #8
The figure itself is flame-cut steel and welded scrap metal, and stands on a circular pine wood base. Its conception stems from my interest in Candomblé—the Brazilian form of voodoo—and my wish at the time I made it to put some mojo out there to extend the length of my month-to-month lease on my amazing cheap studio in a former gas station on NYC's Lower East Side another 5 years. That is why the figure holds a number 5.
I guess it worked as I was able to keep the studio another 10 years!
(photo credit: Kelly Irwin)
October 25 2014 Weld of the Week #7
This sculpture is about the feeling of riding a motorcycle (hence the title). I sought to show spatial volumes that approximate a motorcycle’s proportions of aerodynamic wave vibrations (in an abstract manner).
Inspiration came from Italian Futurism and my personal desire to show the intensity of speed and motion in a static 3-D artwork.
A limited-edition Harley-Davidson folding knife designed by the knifesmith David Mann adds a (literally) edgy aspect to the work.
October 17 2014 1 Comment Weld of the Week #6
The name comes from my impression that the table resembles an abstract flag under the glass. Contrasting types of rusty ornamental iron and angular stainless steel are welded directly to one another to create an interesting synthesis between old and new material.
Structure and composition within the piece flows together quite interestingly in terms of practical cantilevering and aesthetic juxtaposition as well as proportion. I sought to blend two styles (old/new and rough/finished) together in the table and view it as quite successful in that regard.
September 4 2014 Weld of the Week #1
This sculpture was inspired by David Smith and a story involving his daughter (Rebecca Smith) and a high school friend of mine who shares the same name and lives in the same town (Bolton Landing, NY) as Smith's daughter. The non-daughter apparently gets the daughter's mail by accident sometimes. Anyway the random serendipity of the story was a departure point for channeling some of David Smith's genius into a homage to my friend. Not that the piece copies Smith's work (although Smith did use circles, he did not use them in this way).
The interplay of curves and circles in this 25"-high sculpture is a fascinating variance of levels and proportions that make for an exciting and truly rare, beautiful and unique composition. This was done when I was 38 and I consider it to be one of my finest abstract masterworks.
Another personal element of the piece is that I hand painted it (in a black to white tonal scale) where the change from light to dark tones resonates with the changing physical volumes and morphing linear thicknesses throughout the piece. The overall result, I think, is a highly complex and cerebral work considering it was done from a rough sketch.