Category Archives: Uncategorized

Come see me at Chesterwood Oct. 19th


I’ll be doing a portrait head demonstration in the main studio at Chesterwood in Stockbridge, Mass. on Saturday, October 19th. This magnificent landscape and historic home was the working studio of Daniel Chester French, sculptor of the Lincoln Memorial in Washington, DC and much other notable work. Don’t know who I’ll be sculpting yet–maybe DCF himself!

Stay tuned for more information–hope to see you.


A Wedding Album re-released

My friend, writer and filmmaker Carolyn Jacobs, made this short film as part of her AFI program back when we were all young and hopeful. It won a Golden Trailer award, even! Take a look…

Tiny Erato


Erato, the muse of romantic poetry, is often shown with a lyre and wreath of roses in her hair. This 6-inch goddess was once a decoration on an elaborate Ansonia clock, and is made of spelter. Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. Early twentieth-century Art Nouveau and Art Deco figures and lamps were often made of spelter. The metal has been used since about the 1860s to make statues, tablewares, and lamps that resemble bronze. I re-patinaed Erato using Puritan bronze and gold highlights, mimicking contemporary French bronzes.


My Etsy shop is back up and running

Having a great time fitting wings today!

I just listed a few of my small-to-medium size sculptures, plus I’m selling select items from my personal collection and also tools and materials. Check back from time to time to see what new gems I’ve added.



A servant girl doing a polka, or a New York icon?

Emma Stebbins’ “Angel of the Waters” atop Bethesda Fountain in New York City’s Central Park had a rocky road to greatness:

Meta Fuller collection revived at new Danforth

African-American sculptor Meta Vaux Warrick Fuller lived and worked in Framingham, Mass. for most of her life. She studied in Paris with Rodin as a very young woman, and married late, to the Liberian psychiatrist Solomon Fuller. Fuller’s tiny studio, once in the attic of her family home, is reconstructed now as part of the Danforth Museum’s move and restoration. Fuller’s husband did not approve of his wife having a career apart from marriage and motherhood; but Fuller, persistent and driven to represent her heritage as a proud and historically significant one, eventually built a separate studio with a small inheritance of her own. The Fuller Room shows the Danforth’s entire collection, including molds, armatures, bas-reliefs, and small, unfinished work, and is inspiring.

Michaelina Wautier

Belgium’s newest, oldest art star is a 17th-century painter as versatile as she was accomplished. Did the very beauty and quality of her painting insure that she herself would be forgotten?

Above: Two Girls Dressed as Saints Agnes and Dorothy, n.d., by Michaelina Wautier, Royal Museum of Fine Arts, Antwerp

Apollo Magazine article

More than meets the eye

A recent New Yorker article on new techniques used to recover the true colors of ancient Greek and Roman sculpture includes this video. Ancient funerary portraits formed the theoretical basis for surprisingly subtle painting.

The Treu Head.

Maya Lin in Cambridge


Maya Lin‘s granite, steel and glass facade of the Novartis headquarters on Mass. Ave. in Cambridge looks like a soaring rock formation eroded from a burning blue October sky. The building’s granite blocks, interspersed with interstices, references the binary patterns of the human genome, or the cellular building blocks of life.

As the architecture critic Paul Goldberger writes about the Novartis project in “Maya Lin Topologies,” a book of photographs and essays about her work, “Lin has begun to work with greater constraints than she has ever had. She knows that the greatest challenge of all is not to design without restrictions, but to accept the constraints and then, just as she has done, show that in spite of them you can bring real architecture into being.”

An article from the Boston Globe.

A visible, invisible muse


Davida Johnson Clark, the model whose classically beautiful features pervaded Augustus St. Gaudens’ visualizations of Diana, Victory, and Amor Caritas, is one of the most highly visible faces in neoclassical art. Yet the woman herself—St. Gaudens’ longtime mistress and mother of one of his sons—has almost disappeared from history.

A Swedish immigrant whose name was originally Albertina Hulgren, Davida was re-christened by St. Gaudens after Michelangelo’s David. Her great-granddaughter wrote a fictionalized biography of her in 2016.