seashell side
seashell head on
goddess biding her time
Italian marble, 38″ x 18″ x 12″. 2008-2020. FOR SALE. $30,000
This is the largest sculpture I’ve made so far and it has also taken the most time: 12 years. Some of that time she was gestating; some of that time the air hammer was sending marble chips flying through the air — what Gordon would have called the scattered brothers, but in this case should rightfully be called the scattered sisters. Sculptor friends identify the stone as Carrara marble which gives it royal blood even though it has flaws, just like we all do. We live in a time that devalues the goddess in all her forms whether she be mythical, embodied as the women in our lives, or under our feet as mother Earth. My goddess is biding her time but please note that while she still may be reclining, she’s doing crunches. Watch out for when she stands up and takes her rightful place.
This is the largest sculpture I’ve made so far and it has also taken the most time: 12 years. Some of that time she was gestating; some of that time the air hammer was sending marble chips flying through the air — what Gordon would have called the scattered brothers, but in this case should rightfully be called the scattered sisters. Sculptor friends identify the stone as Carrara marble which gives it royal blood even though it has flaws, just like we all do. We live in a time that devalues the goddess in all her forms whether she be mythical, embodied as the women in our lives, or under our feet as mother Earth. My goddess is biding her time but please note that while she still may be reclining, she’s doing crunches. Watch out for when she stands up and takes her rightful place.
Yes, No, Maybe So
carved as two figures in ash, each 29 ” by 12″ by 1″. 1997. FOR SALE $9000
The two figures in this sculpture are meant to be changed in their orientation towards each other as a kind of relationship barometer, thus encouraging audience participation and illustrating the title: yes, no, and maybe so.
These pieces are only an inch thick, yet the dramatic wood grain suggests much more depth. I consider these as a kind of double relief sculpture, meaning, they read equally well from both sides.
Man’s Dominion
Padouk Wood on Mahogany – 19″ by 12″ by 2″, 2002. FOR SALE $6500
The theme of man’s domination over woman has come to me many times, and unfortunately still feels very relevant in our world. The man is either oblivious to the burden he places on the woman, or expects her to carry him without complaint. Meanwhile, she is clearly angry, and about to stand up and shake him off. I think the carving evokes a couple other layers: the first world’s domination over the third world; and the “civilized” world’s domination over mother earth and all her creatures, symbolized by the primal serpent.
Flute Abandon
black walnut, 24″ by 16″ by 8″. 2001. FOR SALE $7000
This piece works best from the front. I have never been all that interested in figures that are anatomically “correct” and in fact perceive that road as a dead end. Perhaps this comes from growing up in a family with more than its share of physical disabilities. I learned that the pursuit of “normal” is a trap.
I am much more interested in depicting how the body feels from the inside, in this case, the joy of making music with a flute.
The Gatherer
carved marble on oak base, 22″ by 13″ by 4″ , 1996. FOR SALE $12,000
My neighbors had an old headstone (used once formally and twice informally) that they were going to use as fill. I said, “I don’t think so.” I can see Cubist elements in the sculpture as well as the social realism style of federally funded art projects after the Depression. That makes sense because my mentor Gordon Newell apprenticed with Ralph Stackpole who was one of the recipients of federal funding during that time. Stackpole, Newell and my uncle David Park all worked on the marble freeze of the San Francisco stock exchange during those days. I believe this chunk of marble is from Marble, Colorado
willow woman 2
sleeping woman
Black walnut, 36″long, circa 1971. FOR SALE $4000
Seeing that I was enjoying the process of carving, Gordon gave me this incredible slab of black walnut. I loved the rough-cut feel of it, the saw blade scars and the “nipples” of former branches sprouting from the bottom of the slab. I didn’t want to disturb these natural textures, but I also discovered what an incredible polish black walnut can take. This sculpture is more akin to a drawing in relief, just a suggestion of a sculpture. It’s a raw and spontaneous figure, which I hope matches the raw beauty of the wood itself.
Cinnamon Leads the Way
padouk wood on black walnut, 28″ long, 2016. private collection
Henry and I were surprised to learn that my mare, Esperanza, was pregnant. In 2012 she delivered a healthy filly we named Cinnamon, who was brave and curious, and always led the way.
Padouk is a very dense wood from the rainforest. When freshly carved the wood is bright red; this fades to a deep brown over time.
attunement
black walnut mask, 11″ by 5″. 2018. private collection
our 1999 trip to Africa got both of us interested in making masks, both as collaboratively and solo. This is a simple small mask of a quiet contemplative face, actually two profiles if you look closely at the intersection between the sapwood and the heartwood.
Reunion
Honduras mahogany, 36″ by 21″ by 14″ including the mahogany base, 1998. private collection
This piece is a larger version of Calling Down the Moon carved in ash. Many times when an idea is strong enough, I work with it several times, changing small details or scale. Horses have always been an essential part of my life. I’m sure that in another life I WAS a horse, and if I’m lucky, I’ll get to be one again. Another sense of reunion is trusting your body and sense of balance. The last is that feeling of belonging on this beautiful planet, letting go of doubts, inadequacy or estrangement, letting go into the joy of simply being alive, the only reunion that matters.
