Commissioned Public Art is a different order of artwork. Working in the field of public art I must encompass a great range, creatively drawing from my diverse background to show strong ability in flexibility.
My vision for public art resonates for diverse audiences and environments. To accomplish signature works I respond afresh for each commission’s paradigm. Rather than creating within a set style and safely repeating prior successes, I explore a broader aesthetic that is uniquely responsive to the opportunities presented.
The demands of public art upon my creative capacity are on a different order, as I apply my full attention toward expanding the parameters of widely divergent situations, pushing toward unique works of dynamic integrity.
Many of my public works are created entirely in-house, either entirely by myself, or with the help of a few key craftsmen. When possible I cast my own bronze work, rather than using an industrial foundry- or limit the foundry to casting only, pulling my own molds, chasing my wax, and welding and chasing the bronze. I gained these skills by working in a large arts casting foundry in Loveland, Colorado, and prior to that acting as foundry assistant for the large casting facility at Colorado State University in Ft. Collins, Colorado. A full understanding of the industrial processes of monument production allows me to work at-scale on any concept I propose.
My vision for public art resonates for diverse audiences and environments. To accomplish signature works I respond afresh for each commission’s paradigm. Rather than creating within a set style and safely repeating prior successes, I explore a broader aesthetic that is uniquely responsive to the opportunities presented.
The demands of public art upon my creative capacity are on a different order, as I apply my full attention toward expanding the parameters of widely divergent situations, pushing toward unique works of dynamic integrity.
Many of my public works are created entirely in-house, either entirely by myself, or with the help of a few key craftsmen. When possible I cast my own bronze work, rather than using an industrial foundry- or limit the foundry to casting only, pulling my own molds, chasing my wax, and welding and chasing the bronze. I gained these skills by working in a large arts casting foundry in Loveland, Colorado, and prior to that acting as foundry assistant for the large casting facility at Colorado State University in Ft. Collins, Colorado. A full understanding of the industrial processes of monument production allows me to work at-scale on any concept I propose.
