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My philosophy to sculpture is not to duplicate nature, but rather interpret and convey it through various artistic components. These are some of my methods, thoughts, and how I go about creating a piece of sculpture.



I need to have a connection and be inspired before sculpting my subject.  Inspiration is a direct result of my life experiences and interaction with wildlife.  


First, this includes observing my subjects in the field - I need to know my subject’s personality and anatomy to accurately capture it in sculpture.  Second, there is nothing as valuable as sculpting from life and I use a live model whenever possible.  Photography, sketching, and using subjects I keep in my “road kill freezer” also provide valuable research material.  The foundation of a fine piece of sculpture is understanding my subject’s anatomy and how it works.


I believe the essence of a fine piece of work starts with a strong composition and design.  To settle on this, I sculpt a miniature clay study.  This rough draft is called a maquette.  Only once I am satisfied with this study, do I start my final clay model.  A sculpture must have rhythm and strong correlation to other key elements including mass, form, line, movement and negative space.  How these elements interact with one another determines the composition and design


I am not concerned with sculpting every detail whether it be feathers, fur, or scales but rather emphasizing the form and structure of my subject.  My philosophy is that less is more.  I don't want viewers to be distracted by unnecessary detail but instead see the beauty of the subject’s form.  When texturing a piece, I use many tools but my hands are my most valuable tool.  I want you to see my fingerprints in the finished bronze which is the ultimate signature of my artistic expression.

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