I believe I owe my fascination with living things to my childhood in a northern Pennsylvania farming community. I was not born there but moved there at the age of eight, from the suburbs of southern Pennsylvania. An introverted child, I did not do well socially. I had found home not a place but a state of mind. I spent all my free time in the wild.  In that small trailer in northern Pennsylvania where my father and I lived, was a room full of aquariums filled with live frogs, fish, crayfish and insects. I had a good microscope and used it to look deeper at my world, the seed was planted for the work I do now.

In the interim between then and now, many modes of expression filled the free hours of my life. At eleven I received a camera for my birthday. I started expressing my love for nature in black and white photos. Ansel Adams was my hero. At twenty-four I moved on to painting.Fresh out of the army in 1985, I took up residency in a small town on the Chesapeake Bay in Virginia and it was here while working as a welder that I came across a fine art foundry owned by William Turner. This was my introduction to sculpture. Molten metal turned into three-dimensional art. There is something very primal about the casting process - like the earth giving birth to mountains. I had found my medium. I was lead chaser (metalworker) within six months. In 1991 my brother invited me to visit him in Seattle. I researched fine art foundries and found Riverdog Foundry in Chimacum on the Olympic peninsula. In 1992 I moved across the country to join the Riverdog Artist’s Guild. It was there that I found the freedom to explore my love of sculpture.

Thanks to the support and encouragement of my wife Heidi, I left Riverdog in 2003 to work full time on my art at my studio in Port Hadlock, Washington. It is here, in this studio, that I have returned full circle to that childhood fascination of life with the use of a microscope. Inspired by the patterns on the surface of organic material I placed under my microscope I developed methods of texture that honored their complexity. My love of painting led me to experiment with the patina process. I developed my own patina techniques to reveal the complex form of my textures. Casting in a variety of metals opens up different worlds of color and reflective quality. The recognition of the patterns of life that I see trigger a feeling of belonging to something grand. I want to convey these feelings through my work.

During my time there, I worked with many sculptors and as lead metalworker I developed and honed my skills. I felt a kinship with the work of many of the artists at Riverdog. I could see the influence of the northwest's natural beauty.