I have frequently been asked about the process I use in determining the outcome, or finished product, when creating an abstract wood sculpture.  I will attempt to answer that question here.

All that is required in the beginning is a subject, a donor piece of wood whether it is a root ball, tree limb, or a block of hardwood.  I never begin a piece with a designated outcome in mind.  I view the subject asking myself “where will this piece allow me to go”.  To answer this question there is a cleaning process that can be quite extensive depending on the source of the piece.  I have some pieces that are fully developed root systems, recently recovered from the earth, with years of dirt, sand, and rock embedded in the system.  Layers of bark, rot and sometimes mold need to be removed. This can be a time consuming process and various methods are used to remove the layers such as high pressure washing, wire brushes, rasps and files, and often small dental tools.   I have burned up too many Dremel motors to count, and rely heavily on my Fordham flex shaft tool for intricate work.

During each of the above steps I observe how the piece has developed during its lifetime and at this point I make decisions as to what will be removed and what will remain.  Sometimes the underlying wood has deteriorated to a point of being unworkable, and is removed; maybe a little, sometimes a lot.  As the process continues I can see where the piece is going and I attempt to follow its natural design.  I do not carve faces or heads or any particular figure in the piece.  It’s either there by natural design, or it’s not. This process continues as I work.  Generally it is my goal to hand wax each piece although some have received layers of polyurethane in final finish.  In either case, the surface requires sanding. I prefer a glass like finish so the sanding itself usually begins with 60 grit working my way to a 1500 grit finish, as needed.  When the piece tells me it’s finished, I walk away.  The time required to complete a piece can range from a week to 10 days, to several months.  Size and complexity of the piece are major factors.

Painting has long been a place of refuge for me.  It all began in grammar school art sessions with water colors and classical music.  Trying to connect a feeling somewhere in the music with another feeling locked inside a 10 year old boy.

 Many years later the water colors paint set was replaced by multiple tubes of acrylic paint, a large assortment of brushes, pallet knives, spatulas, concrete tools, and almost anything that would make a mark, and a very loud oldies but goodies radio station.  Something about the combination of these elements brings a sense of well-being, peace, and comfort to me and at times something pleasing to the eye and appealing to the brain.  I love so much the process of taking something invisible from inside of me, and creating a visible representation on canvas.

I believe the story of the 10 year old boy, the Vietnam Vet, the LA cop and all the rest of me can be found in all that I have created.