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here to enter gallery 1. Unity (model) "Unity" is a monument to the family; it portrays them as a shared force. To me the sculpture exemplifies the dynamism of movement possible within the sculptural form. The work shows my technique of building a sculpture from the interior in layers to an exterior. The forms create anatomy in cross sections. I've worked in fragments by preference. They are part of a visual representation of movement. I like to harmonize the contrast between space and volume and create another perspective with negative space. This is one of five maquetas presented in five different materials. 2. Steel Workers (model) Often several models are made before beginning the finished monumental sculpture. During this same period I also painted this theme in mural form, on the front of the Peck Steel Company offices in Portsmouth, Virginia. The wall was 80' x 15' high. 3. Steel Workers (model) "Steel Workers" was commissioned by Stanley Peck for the front of the Peck Steel Company offices in Portsmouth, Virginia in the early 1980s. The completed stainless steel work stands 8' x 12' x 6'. The two figures with a sculptural boom between them stand on a reinforced 10' rectangular base. The movement of this piece is an oppositional one, a pushing force against a pulling one. 4. Farmers (model) In its monumental form, "Farmers" stands 15' x 18' x 18' in a triangular composition. The anatomy of the figures is open, the internal structure of the human form is externalized. I look for the dynamics of movement; "Farmers" represents this search. 5. Human Energy (model) 6. Generations (model) 7. Evolution (model) "Evolution" was commissioned by the Montgomery County Government of Maryland. The design, submitted as a proposal in national competition, won first place. The 15' x 80' exterior, stainless steel, relief mural was financed by a 1% Art in Architecture grant. It was installed August 1990, in Silver Springs, Maryland, and attached to the entrance/ auditorium wall of the newly restored Northwood High School. The material was stainless steel and showed the transitions through high school. Each figure in the completed large-scale relief mural was 15' high and depicted the dramatic evolution of the learning student; the process of change. The planning, building and installation of this piece took one year to accomplish. 8. Genesis (model) 9. Herald the Future (model) The completed size of "Herald the Future" is 30' high x 15' x 7', including the base. A site-specific commission, it was installed October 1988, in Gaithersburg, Maryland, through a Percent for Art national competition. The piece is made from stainless steel, which was cut into the desired forms and welded. The armature of the sculptures form a visible part of the musculature and is an important aesthetic and expressive element. The weight distribution in the armature and exterior forms of the sculpture provides physical balance. The open, spatial construction provides the sculpture with a sense of movement, as well as wind resistance. The base was constructed of steel angle irons and flat bar, which was attached to the cement floor of a 100 square foot courtyard with lag bolts and shields. The base is designed as a walkway in two directions, serving as an x shaped crossover through the courtyard. 10 Sun Power (model) 11. Earth Mother "Earth Mother" or "Hunger" was the first sculpture I made in metal in 1975. It came after four years of working exclusively in clay, making seven to ten foot pieces from the figure, taking plaster molds of them in preparation for the foundry process and then destroying them and using the same clay to begin the next piece. This process was purely a practice and learning experience. In this sculpture I was uniting my clay work within a metal form and modeling with welding rods in a clay-like way. I felt I was using the techniques of modern technology to sympathize with an ancient human problem. I still want to use my experience in clay and translate it into a metal form, using bronze and the foundry. My technique is to construct in an open, spatial way because it indicates the movement and structure of the body. I would very much like to use this same method of building in bronze, in the park setting of a densely populated area. I want my humanistic work to relate to the surrounding technology and architecture, as humanity itself relates to the city-scape. http://www.blockisland.com/artconstructions/
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Updated: 06/13/02