My two studios, one in coastal Maine and one in the middle of the verdant farmlands of the New York’s Mohawk Valley suggest the importance of place in my finite existence. I’m in Maine because of an abiding love of boats and navigation. I’m in New York because of circumstances where my chosen "place" is a quarry surrounded by trees and farm fields, the old quarry reminiscent of a rocky coast, not granite, but significantly for my most recent sculptures, Early Devonian limestone.

These places present the subjects for my art where the process is drawing in the larger sense of the word: "To bring forth or out by design or chance, to pucker, wrinkle, lengthen, etc., as if by pulling, to produce by tracing a pen or pencil over a surface, to delineate; hence, to produce or represent as if by drawing, to formulate; as, to draw comparisons, to stretch, spread, or shape (metal) by passing through dies, by hammering, etc., to require (a specified depth, as of water) for floating; - said of a vessel, to pull or use force upon so as to cause to follow or to come down, up, out off, etc. as desired, to attract; entice; allure." (Webster’s New Collegiate Dict.1956)

My subject matter derives from the marine environment, landscape, the figure, and the physical forces of nature. Repeated linear bronze elements cast in foundry sand are pieced together suggesting three dimensional drawings of volumetric objects intended to create a tension between abstraction and representation. I endeavor, in my sculpture to create anatomies, sometimes complexly dimensional, sometimes not, allowing light and space to circulate through them.

Castings of tree branches with their irregularities and repetitions (knots, buds, etc.), rocks, and objects from my studio environment are employed in the making of my "drawings". The resulting sculptures are records of ideas, some recognizable in the case of the recent volumetric pieces, and others abstractions made from natural objects that seem to grow in a natural way in the process of drawing ("To bring forth by design or chance").

	Education			Professional
	1967	MFA, Pratt Institute		1996	Lecturer in Art, Hamilton College, Clinton, NY
	1964-65	The Art Students League		1985-89	Visiting Assistant Professor of Sculpture, Colgate University, Hamilton, NY
	1963-64	University of Minnesota		1972-85	Instructor, Munson-Williams-Proctor Institute, School of Art, Utica, NY
	1963	BA, Hamilton College		1973-83	Alternate years and 1984, Adjunct Professor, Hamilton College, Clinton, NY
				1975	Cofounder of Sculpture Space, Utica, NY
				1968-71	Director, Kirkland Art Center, Clinton, NY
	Fellowships & Awards
	2001	Board Leadership Award, Alliance of New York Arts Organizations
	1990	Artists' Fellowship, New York Foundation for the Arts
	1985	Yaddo Fellowship
	1983	Hand Hollow Foundation Fellowship
	1973	National Endowment for the Arts, grant for an art foundry
	1964	Ford Foundation Scholarship, Art Student's League