attempt to infuse my work with a “Beethoven dynamic”
which is the ability to weave melodic filigree out of
molten steel and tempering it with power and passion.
origin for my furniture and sculpture is the delineation
of the silhouette. I visualize the piece in a black,
monolithic material rather than wood. If the form has
visual impact in this black dress it will be that much
more potent when endowed in wood or cast bronze.
and the act of creating were always just pulsating below
the old epidermis. It was at an early age when my mother
first showed me how to grasp a hammer. My coronation
occurred at eight when I received my first set of tools:
a hammer, a handsaw, and an electric drill. I’m
sure my parents had second thoughts about that electric
drill after I proudly put holes through both the dining
table and the kitchen table.
could see that it was not going to be smooth sailing
up the river to woodworking. Being a good Jewish, middle
class boy there was a major sandbar, namely college
pre-med. I nixed that fast after I experienced my first
proctology examination. I thought maybe being an architect
would be a fair compromise only to realize that I was
never to be Howard Roark.
parents relented and I was released to study under Bobby
Falwell at Northern Illinois University. Bobby Falwell
did his graduate studies under Wendell Castle at Rochester
Institute of Technology. I proceeded to learn the gospel
as handed down by Wendell via Bobby. Those years at
Northern Illinois University were a time of nothing
but woodworking and women where I created the beginning
of my aesthetic vocabulary and my Achilles heel…women.
Many of the pieces, such as the Rump Table and Plant
Stand, that I created during college were very strong.
I still get orders for them.
Ask the Gallery