I have been involved in creating, artistically and otherwise, since my childhood. My work in wire mesh is a result of over twenty years of fascination with a material I discovered quite by accident, searching for a medium that I could best express myself with. Working by hand with leftover scraps of material at a blacksmith shop I was employed in, I gradually came to know the incredible expressive power of a medium most people, artists included, had never even heard of. Thus began a refinement and synthesis of all my art and design experiences – years of life drawing, carving in wood and clay as well as the newly discovered mystique of metal work itself – as I learned the skills necessary to work with a material that is at once as supple as clay, demanding and hard as steel, yet finite and woven, literally a fabric of wire.
These playful experiments eventually led me to my first exhibition in 1989. If the sculptures do not exactly speak for themselves, they do not require much in the way of explanation. While the figurative works share my fascination with the human form, and the human history of image-making in and around that form, the “vessel” pieces are almost purely about the material itself as expression. Occasionally the figures have a story to tell: The Icon. A visual pun. An excuse for an obscure literary or musical reference. A new interpretation of Greek mythology. Yet the wire mesh itself is a material with no foreseeable limits as an artistic medium. My figurative work represents one narrow avenue of expression within a vast potential territory, which now has expanded into the purely geometrical, colorful vessels and can yet include architectural installations, furnishings, two-dimensional work, and kinetic sculpture.
In 1985, I started to explore metals, being employed for five years in a metalworking shop where I learned to forge, weld and fabricate decorative iron railings, furniture and other household items. Among these were the dozens of fireplace screens of various designs and sizes that I fabricated and assembled. Being fond of salvaged materials, I began to play with leftover scraps of the #8 mesh that were discarded from the assembly process. Having always been attracted artistically to the human form, and for other reasons both ethereal and practical, I began to sculpt figures. At first small and rather timid, these mesh sculptures began to attract attention, resulting in my first exhibition, in 1989, of 3/4 lifesize figures at Art on the Mountain in Wilmington, Vermont. Working with wire mesh continues to fascinate me after over twenty years.
Here are a few examples of his work.