goal as a sculptor is to carve large, granite sculptures for public
places. I have successfully completed several monumental, site-specific
works that have been integrated into existing outdoor settings, in
Japan, Portugal, Canada, and the United States.
is simple, direct, and consists of universal and timeless themes. I
would describe my style as minimal and abstract, as I endeavor to reduce
an overall image to its most essential form. My style is suggestive
rather than overt. I work with what nature has imbued the stone. There
is no forced manipulation, but rather a flow, like a river.
a sequence to working in granite: the carving process reveals the possibilities
of the original stone. It is like a journey of discovery for me as I
work, struggle, at times, with the essence of the stone. I strive to
maintain the rugged strength of the material while still adding a human
touch. As Noguchi once wrote concerning this same process: “A
dialogue ensues of chance, no chance; mistakes, no mistakes. No erasing
is possible or reproduction; at least not in the way I now work, leaving
nature’s mark. It is unique and final.” I view this process
in the same way.
new work involves my search to communicate a sense of the profound.
The viewer senses a harmony with things eternal. I want the final result
of my efforts to give the impression of nature’s
touch. The stone itself is rough and worked by time, yet the finished
piece reveals the contrast from the effects of my hand. As a sculptor,
I form the piece but do not overcome it. I try to know when to stop.
I am concerned about the limits of my ideas with the stone. How far
should the sculpture be carried? Finish defeats itself. I feel suggestion
alone communicates the message and causes reflection.
I create is a symbol. Just as any other symbol, it is esoteric. It implies
without specifying exactly. It leads hopefully to poetic wisdom and
by its power of evocation, can serve as a synthesizer. It exists outside
of time, representing an abstract reality that is comprehended intuitively,
but never objectively expressed. I try to find the ‘poetic nature’ within
the external form of the sculpture.
my public sculpture requires either an outdoor Photo
by Shiroshita 1996
or a substantial
interior setting, and is especially well-suited to placement within an
architectural framework or landscaped environment. All my work is designed
as site-specific projects with emphasis given to scale, color, mass,
orientation, and unity with the setting. Considerable planning goes into
every project to achieve a high artistic standard while ensuring the
successful assimilation of the sculpture into its environment.
all cases, I enjoy collaborative work that involves architects, engineers,
facilities coordinators, and community representatives. This collaborative
work challenges the ‘design team’ both
artistically and environmentally. And results in a timeless, sophisticated
and fully integrated unification of sculpture and architecture.