time ago an associate suggested that I set aside my brushes and
move from painting to sculpture. The opportunity came in a class
experience that focused on teaching painters to think in three-dimensional
terms and it forced me to move from painting's comfortable territory
into the uncertain realm of sculpture. My approach to sculpture
was casual and informal as I decided to experiment with common materials
such as safety pins, buttons, aluminum can tabs, bottle caps, neckties,
broken jewelry and other discarded objects. As I collected and handled
these ordinary objects my appreciation for their properties and
uncertain where all this was leading until a fellow artist picked
up a half-finished piece I had been working on and threw it over
her shoulders. As this scrap of "art" conformed to her
figure, I saw the wide-ranging possibilities of a new art form.
With that recognition, my involvement in sculpture expanded from
the technical aspect of making art into working with ideas: a series
of rigid sculptured garments with each acting as a metaphor for
an attitude or custom of our culture. Since that time I have focused
on garments as portraiture, landscape, satire and commentary.
Beginning with a welding torch and quarter-inch steel rod, I weld
an armature that can function as an internal support or play a definitive
role in the detailing of the piece. The materials selected help
to define the meaning and draw the viewer into the work. In return
the viewer completes the process by imaginatively wearing the garment
and adding a personal interpretation.