My grandfather was an artist. My father is an artist. And from as long as I can remember, I was too.
As a small child, my father would sit me on his lap and we would look at art books together. As we perused the works of masters from bygone eras, he would treat me to a history lesson while we would try to imagine what it must have been like to live in their society. He would then lay a piece of tracing paper down over the picture so that we could draw over the picture in order to analyze the composition. We would draw sweeping lines across arms and torsos and drapery and plumes of smoke in the paintings of Caravaggio. We would consider how each element subconsciously leads your eyes around the painting, and how multiple lines would converge at a center of interest.
From that point on there’s been no going back.
During my formal art training in my father’s atelier I became part of a long, continuous line of student/artist relationships and benefitted from the knowledge that was passed down. Though technology has improved many areas of sculpture (laser enlargement being the best example) the vast majority of what I do still has its roots in the classical techniques of the past.
Throughout my professional career I have been fortunate to have the opportunity to travel the world and work on projects both small and colossal. I do what I love and try not to take that for granted. I push myself to make every bust, portrait, or monumental piece better than the last and treat each piece as important as the next. I work to bring out the best of my subjects, and infuse each portrait I sculpt with vitality and character—all without compromising the accuracy of the likeness.
I live in Baltimore Maryland with my wife and our bad cat.
I also enjoy logic and crossword puzzles, writing, popular science for the layperson, skepticism, trolling bigots on the internet, playing and composing music, craft beer and quality pizza.