The space above is for me a space of wonder, hope, and creativity. For as long as I can remember I've been fascinated with the weightlessness and magic of flight. As a child I had vivid dreams of flying, my brother and I made countless paper airplanes - having flight duration contests and launching them into typhoons, and I learned how to tie a thread around the waist of a dragonfly to have it buzz around over me like a living kite. More recently I've taken up hang gliding, which I love for the total attention it demands and the connection to the elements it provides. Around 2007 I began sculpting solar powered mobiles that dance and make music in a sort of perpetual flight.

When I was quite young, like all children I was an artist and somehow that never changed. In 1977 I completed a BFA in sculpture from Carnegie-Mellon University where I focused on clay. After this I rode my 1960 BMW motorcycle across the country to study at the University of California, Berkeley. There I worked for the seminal abstract expressionist sculptor Peter Voulkos and earned my MFA.  While my early work was in that vein, I soon began experimenting with Styrofoam, a sort of un-material (without mass and lacking any artistic tradition or redeeming tactile quality). I loved being able to balance a seven-foot carved figure over my head with one hand.

By chance, around that time I was given an early piece of three-dimensional modeling software with which I became proficient. By being in the right place at the right time and having interests in form, motion, and collaboration and some proficiency with technology, I made the short leap from Styrofoam to modeling in software and embarked on a career in computer animation with a startup which became Xaos Inc. in San Francisco.

I quickly became the company's Creative Director and, hiring new MFA's and training them, we soon won national and international recognition, with Emmys and several Ars Electronic awards including a Silver for an animated film we created for the Grateful Dead. For many years this was tremendously exciting – a sort of wild west in a new world of image making, in which we could invent the meaning of the term "computer animation" as it was newly coined and open to interpretation. We created our own software, specializing in organic, painterly effects that were previously (and since) unseen.

Eventually that world grew into a bonafide industry, with computer animation becoming so over-defined that it was a stifling world in which to spend one's days. Breaking out of it, I re-immersed myself in music, singing and taking up baritone sax, and later reviving my sculptural practice, out of which unfolded my current work and interests.

I most recently moved to Petaluma CA, where I’m thrilled to be opening a new 1600' studio in which I'll be able to literally spread my wings and make some larger-scale pieces that have been flying around in my inner space "up there".