I sculpt the figure as a concrete metaphor for aspects of the human condition that transcends time and people’s diversities.

I am particularly intrigued by the ability to overcome the worst of difficulties and by the unending yearning to alter undesired conditions. Essential to our existence, these characteristics are timeless. Yet, since they are anchored in a given reality, their revelations are impacted by the change of times.  

We live in an era fraught by increased mobility, isolation, and rapid changes that erode our sense of available time.  All those contribute to a new conflict that adds instability and confusion.  We jealously protect our own boundaries, but still look to tear them down; we celebrate the personal strength that grows from doing it all alone, but we also praise the value of vulnerability that propels reaching out and self revelation.  Consequently, what used to be experienced as a simpler surge in the journey for a better life, carries now an added element of agony, that is often seen as a struggle rather than as an act of wonderment. 

The need to artistically express timeless issues in a timely light, have contributed to certain choices I made in my approach to sculpting the figure. As a contemporary artist, I have divorced myself from conventional aestheticism. The figures I sculpt are not decorative or pretty in the traditional manner. The sense of incompleteness in our life is    expressed in a bronze skin that is scarred, scratched and grated.

Giving voice to the inner struggle of the individual, I choose to sculpt the figure in singularity. Although I view the human condition as genderless, I use conventional societal perceptions on the differences between males and females to support my statement. Thus, when interested in a singular dominant force, I use the male as its vehicle. But to reflect on duality I prefer the female form.  I sculpt females in monumental size and muscularity to give voice to their new accomplishment of strength, and juxtapose it against gestures of want and longing to convey vulnerability. To increase  their sense of exposure, the women are naked and bald.

Common to all my sculpture is the emphasis I put on hands:  in their larger size they are the paragon of the movement and the instrument with which one extends oneself.  As standing alone sculptures, they lose their gender identity, and serve as a metaphor of enduring desire to reach out and connect.