Power and Beauty
Stones are majestic. My art attempts to focus on presenting the best view of the stone. I love to leave a portion unrefined as a reminder that the rock itself is amazing. I want people to look at my work and realize that this creation is just stone—and in that appreciate its natural beauty. My original carvings came from a need to recover from a personal loss. Physically hammering away with a chisel distracts the body while relaxing the mind, like meditation. This is the Sunday fun stage.
With "Power and Beauty" I wanted to enjoy the entire process. I wanted to be happy. The forms were chosen from old memories—the awe of the curvy corvette, and also what suited the stone—a simple, voluptuous tornado to grace the curves of alabaster both hard and soft. When starting a new piece, I first visualize what the stone can be, then I sketch the result and refer to the sketches and other pictures as I define the shape. Finishing a stone, wet sanding, is like tossing a yo-yo. One moment you're thrilled because the grey stone starts to shine and show its colours and later you're frustrated because you have to go two steps back to remove the now apparent scratches.
In the end it’s my outlet.
With "Power and Beauty" I wanted to enjoy the entire process. I wanted to be happy. The forms were chosen from old memories—the awe of the curvy corvette, and also what suited the stone—a simple, voluptuous tornado to grace the curves of alabaster both hard and soft. When starting a new piece, I first visualize what the stone can be, then I sketch the result and refer to the sketches and other pictures as I define the shape. Finishing a stone, wet sanding, is like tossing a yo-yo. One moment you're thrilled because the grey stone starts to shine and show its colours and later you're frustrated because you have to go two steps back to remove the now apparent scratches.
In the end it’s my outlet.
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