Artist Statement

Dear friends and supporters of "Drawing In Space: The Peninsula Project,"

A good many years ago I took a small model of a sculpture to Sao Paulo, Brazil for the purpose of laying the groundwork for a major project in Parque do Ibirapuera, which is their Central Park.

I was asked why I was presenting this work for this site, what did it mean, and why was an American artist being chosen to do this project? Beyond the somewhat political entanglement and organizational connectivity, which had initiated the process, I gave them no pertinent reasons for a mid–western sculptor to place work in Brazil.

At the time, I did not fully understand my own work beyond the formal approach to constructive sculpture, and the history of where my interests in art had emerged. A certain amalgam of purpose, just like the word in the sentence or the stanza in the composition, began to form out of what was clearly becoming a sort of symbolic romp around the planet with large constructions of steel and aluminum.

Geography, a particular point of reference, and the element of time, mostly relating to travel, began to work its way into forming an aesthetic. As I began to erect large-scale sculpture in Korea and China and across Europe and began planning for projects all over the world, a global view of what I was doing began to emerge in a conceptual image of the body of work as a whole. The formal statement, each different, but connected in evolving sequence, scattered across the earth suddenly became singular. Each sculpture is part of a continuous sentence, all referencing one another and each an integral part of a greater whole.

In many regards it may be seen to be all one work! It is very much about the process of working together to extend the influence of a particular part of a visual vocabulary.

When I first began to think of a tighter circle of works, which would encapsulate this idea of geographical connectivity of a family of works, I thought immediately of Florida; a peninsula, a defined and well–recognized image of an unmistakable landmass that I was strongly connected to, and of which I have a great passion for. The Peninsula Project was born, and as I began to talk about the idea of placing large pieces around the state, a groundswell of excitement was generated.

A core group of individuals have been behind the project offering their expertise, volunteer efforts and financial support. I am deeply grateful for their commitment and encouragement. As the project is a statewide grouping or family of works, so are these friends and colleagues a family of the creation of the project itself. I think I speak for all of us when I say it’s been a good ride. We’ve created some excitement and indeed a symphony is playing in Florida. I thank all of you who have participated in this project; it has certainly been a team effort and a large team at that.