For over twenty-five years, I have been creating a body of three-dimensional forms that are timeless, enigmatic, and intentionally elegant. These works have developed from a very early interest and study of eastern philosophies and non-European cultures. This interest began in Northern California in 1961 when I first read Alan Watts’ book, The Way of Zen and later saw him lecture in 1962.

Studies of ancient cultures and practice of meditation since the early 1970s have also influenced the evolution of this work that sometimes appears as if it might have been found in an archaeological site. My focus has been on essential forms that represent constructive power and dynamic energy; many imply an enigmatic function or spiritual ritualistic intent. Since 1982, I have been utilizing twenty-two carat gold leaf on the surface of my sculptures for its luminous and symbolic qualities. The gold is precious, radiant and conveys a sense of timelessness.

The titles of these sculptures are special words from ancient languages that give each work a name but mask the meaning in the mystery of that language. Naming is critical to the work but initial viewer response to each form is important to me and should not be affected by information revealed in a title.

Gold has been utilized in my drawings since 1985 but the newer gold leaf drawings are a series that was begun in 2003 and represents a direction toward more specific formal concerns of movement and manipulation of reflected light through the layering and interaction of marks and patterns. The repetitive mark-making becomes an exercise in focusing and centering similar to the process of chanting a mantra or repetitive prayer. Drawing upon the various colors of Egyptian polychroming, the recently introduced color in the drawings creates an additional voice in the compositional dialogue between lines and marks, pattern, light, balance and form.