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 5 2014 Weld of the Week #4
I had a dog growing up in NYC as a kid and I started to think of the city through a dog’s perspective—which inspired this piece. The dog here is cast lead but with some random bits of steel dropped into the cast as it was drying, making for a rough ornament and patina on the dog’s sides—a metaphor for the edgy streets on which it walks. The entire dog is stuck in kind of a cage made from part of a supermarket cart, which acts as another metaphor—of pressure and containment. The city dog is not so happy but is wise.
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.