To follow your dream

The Artist’s Tale

For years, metal was the primary language. Creativity was defined by resistance: the fight against the material, the heat of the process, and the violence of the hammer. It was art built on the belief that if you can see the objective clearly enough, you can make anything.

Recently, that urge to "make" has spilled over the edges of the anvil. This transition is not a softening; it is a translation of force.

The ceramics offer new possibilities. Here, the hands negotiate with the earth instead of the flame. It is a slower, more intimate struggle with form, but one that seeks the same visceral truth found in the heavy sculpture. The clay is pushed and pulled until it yields the same organic tension as beaten steel—a discovery of what happens when the resistance of metal meets the malleability of clay.

The canvas is approached with that same physicality. The "Chaos" series is exactly that—the painting of anger, a raw and unpolished release of energy that echoes the aggressive atmosphere of the workshop. Where the sculptures capture the body in stasis, the paintings capture the turbulence of the mind. In portraiture, I look for the same "muscle memory" in a face that I search for in a torso—seeking the scars and the stories hidden in the skin.

And then, there is the water. The sea has often been the resting place for my sculptures, but where they are metal, this is paint. It needs to be captured in its living state. These "Angry Seas" are violent, churning, and relentless—not landscapes, but portraits of power.

Whether wielding a hammer, a brush, or working the clay, the intent remains the same: to create work that is tactile, honest, visceral, and stripped of all pretense.