AQUATICA ONE is the beginning of my series of found object wall assemblages based on oceanic life. The environmental impact in the oceans from global warming and human trash, motivates me to create fish imagery.  

I collect mundane detritus as I walk along shores, woods and streets that have an interesting look, feel & aura.  When I see a connection between 2 random fragments in my studio, I begin to attach pieces into an assemblage resembling a fish form. Using hand and machine tools I will screw, nail, rivet, pin or weld fragments to shape the wall sculptures which have the curious look and feel of a fish upon completion. 
 

AQUATICA TWO is the continuation of my series of found object wall assemblages based on oceanic life.
Included is my lastest outdoor freestanding sculpture, "On The Edge", dealing with the plight of horseshoe crabs used for scientific purposes.
The environmental impact in the oceans from global warming and human trash motivates me to create fish imagery. 

I collect mundane detritus as I walk along shores, woods, and streets that have an interesting look, feel & aura about them. When I see a connection between two random fragments in my studio, I begin to attach pieces into an assemblage resembling a fish form.  Using hand and machine tools,  I will screw, nail, pin, rivet or weld fragments together to shape the wall sculptures which have the curious look and feel of a "fish" upon completion.

 

Arabber Series began in 2018 with an invitation to create a sculpture for a benefit for the Preservation Society of  Arabbers in Baltimore.   The horse-drawn vending carts date back to the 19th century and is a vanishing tradition.  Arabbers in Baltimore, primarily owned by African Americans, are fruit, vegetable and fish peddlers who hawk their wares on brighly painted, horse-drawn wagons to rowhouse neighborhoods in need of fresh groceries.  

Three of the remaing stables in the United States are in west Baltimore.    They opened their doors so artists could go in and find materials.  I collected cast off horse and wagon parts from Fremont Stable and assembled them into wall sculptures including fish, horse, corset and elephant imagery. The donated materials I used were castoff wooden and metals horse harnesses, leather parts and wood.

In May 2015 I was an INSIDE ZONE resident artist in Borsec, Romania, a town at the base of the Carpathian mountainous. Throughout my life I had heard stories about my mysterious ancestral land of Transylvania.

During my urban exploration of the town’s crumbling villas, hospital and surrounding area, I took photographs. When I returned home I assembled frames from a few objects I collected there in addition to other materials from my studio. I created the odd sized structures first and then placed the archival pigment photographs inside the frames.

Bird imagery, with its rich abundance of visual metaphor, has always fascinated me.  It has taken shape in "Birdland", the title of my series of found object wall assemblages.

As if risen from the ashes like a phoenix, a multitude of  detritus--aged metals, wood, castoff furniture parts and hardware--have materialized into avian forms of fancy.  Shaped by my vision and the tools and processes of my studio, I re-interpret and honor the unique histories betrayed by each weathered component.

The free found discards in each assemblage are discovered on shores, streets and woods as I walk my dog;  some are passed along by dear friends.  My tools and procesess are lo tech:  files, chisels, saws 
and sanders used sparingly on disparate pieces attached by bolts, screws, rivets and occasional welded.

 

Bird imagery, with its rich abundance of visual metaphor, has always fascinated me. It has taken shape in “Birdland”, my series of wall assemblages.

As if risen from the ashes like a phoenix, a multitude of found objects—cast-off furniture parts, aged metals and hardware--have materialized into avian forms of fancy, shaped by my vision and the tools and processes of my studio, which together attempt to re-interpret and honor the unique histories betrayed by each weathered component.

Most of the materials in each assemblage were found in local wooded areas as I walked my dog; some were passed along to me by dear friends. My tools and processes are simple: files, chisels, band saws and sanders used sparingly on disparate pieces bolted, riveted, screwed, brazed, and occasionally welded.