My goal as a sculptor is to carve large, granite sculptures for public places. I have successfully completed several monumental, site-specific works that have been integrated into existing outdoor settings, in Japan, Portugal, Canada, and the United States.
           My work is simple, direct, and consists of universal and timeless themes. I would describe my style as minimal and abstract, as I endeavor to reduce an overall image to its most essential form. My style is suggestive rather than overt. I work with what nature has imbued the stone. There is no forced manipulation, but rather a flow, like a river.
           There is a sequence to working in granite: the carving process reveals the possibilities of the original stone. It is like a journey of discovery for me as I work, struggle, at times, with the essence of the stone. I strive to maintain the rugged strength of the material while still adding a human touch. As Noguchi once wrote concerning this same process: “A dialogue ensues of chance, no chance; mistakes, no mistakes. No erasing is possible or reproduction; at least not in the way I now work, leaving nature’s mark. It is unique and final.” I view this process in the same way.
           My new work involves my search to communicate a sense of the profound. The viewer senses a harmony with things eternal. I want the final result of my efforts to give the impression of nature’s touch. The stone itself is rough and worked by time, yet the finished piece reveals the contrast from the effects of my hand. As a sculptor, I form the piece but do not overcome it. I try to know when to stop. I am concerned about the limits of my ideas with the stone. How far should the sculpture be carried? Finish defeats itself. I feel suggestion alone communicates the message and causes reflection.
           The sculpture I create is a symbol. Just as any other symbol, it is esoteric. It implies without specifying exactly. It leads hopefully to poetic wisdom and by its power of evocation, can serve as a synthesizer. It exists outside of time, representing an abstract reality that is comprehended intuitively, but never objectively expressed. I try to find the ‘poetic nature’ within the external form of the sculpture.                                         
           Finally, my public sculpture requires either an outdoor                                                       Photo by Shiroshita 1996
setting or a substantial interior setting, and is especially well-suited to placement within an architectural framework or landscaped environment. All my work is designed as site-specific projects with emphasis given to scale, color, mass, orientation, and unity with the setting. Considerable planning goes into every project to achieve a high artistic standard while ensuring the successful assimilation of the sculpture into its environment.
           In all cases, I enjoy collaborative work that involves architects, engineers, facilities coordinators, and community representatives. This collaborative work challenges the ‘design team’ both artistically and environmentally. And results in a timeless, sophisticated and fully integrated unification of sculpture and architecture.