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Frequently Asked Questions: Fabrication
How do you make your pieces?
I usually sculpt with plaster of paris. I start by building the bones—an armature of steel. I then form the muscular structure out of chicken wire and then create the skin by dipping various types of cloth into wet plaster and applying to the surface. I preserve the work by treating all sculptures with a non-yellowing water-based polyurithane.Why do you work with plaster?
I love the immediacy of plaster. The energy and life of a piece can get lost in the fabrication process when using more time consuming mediums. Plaster, however, sets up in minutes, as if I am freezing a moment in time, and therefore preserving the persona of the piece, exactly as I envisioned it, at that very moment.How long does it take to make a piece?
This is hard to generalize. Although the medium works fast, the results aren't always what I envisioned. I do find, however, that when I have a clear vision, the process is smoother, more enjoyable and thus, faster.The size of the piece also impacts the amount of time it takes to complete. A 14-foot elephant can take at least 14 times longer than a 12-inch homeboy.
Therefore, a show of all new work can take weeks or months depending on inspiration, complexity of the theme, and believe it or not, weather conditions (plaster sets and dries faster in dry climates.)
Why are all of your pieces white?
I choose to leave most of my work the white of the original plaster because the rough surface textures that I form reflect and cast shadows more effectively, promoting surface movement.Why do you leave the faces ambiguous?
Most of my faces have subtle features. This promotes the viewer to ask questions to themselves as they view the piece, and therefore, answer the questions for themselves. Instead of seeing a distinct facial feature that may give the piece a distinct identity of a stranger, one may see someone they know, or even themself, in the ambiguous faces of my pieces.In addition, I strive to capture complete moments, rather than identity, within each sculpture. If I formed more complete and expressive faces, viewers would tend to focus on the face alone. By leaving the faces with just subtle details the audience is compelled to move their eyes all around, over and through each piece, observing the moment, body gesture, and context of the subject, thus sharing in that characters moment in time captured.
Why do you use real shoes in your sculptures?
I often incorporate found objects, such as shoes, into my sculptures. These small touches of mankind bring personality to the piece as well as adding touches of color to the otherwise white characters.
