My interest has always been in other
human beings, particularly their beings. Their essences as
reflected in thier physical bodies, the bodies that change from
moment to moment are never the same. I have been
fascinated to the point of selfless immersion in our activities as
humans. Conversely I have detested our tendency to be easily
hypnotized by repetitive motions, slogans and images which are not
changing and therefore do not move with the natural flow of
life. I was always an observer, a bystander, even though
through my work I became an activist. It seems I was always
aware of others. As a child I was immersed in observation to
the point of obsessivenes. Hardly ever aware of class
lessons, I instantly observed the teachers and the other
children. Because of this I failed first grade and fourth
grade. Somewhere early on before school, I realized that I
was a sculptor, or at least that is what I told people when they
asked me "What do you want to do when you grow up." I do not know
where I learned the word sculptor.
Early I started in art school, age 7. I was impatient with my
lack of coordination, always knowing that I had it within me to do
beautiful drawings and sculptures.
At 13, I apprenticed myself to a painter (Katherine Lord), cleaning
the studio and later at the age of 16 teaching for her in exchange
for lessons, particularly in figure drawing and painting.
At 18 I won a scholarship to The Art Institute of Chicago, and as a
corillary I was allowed to take courses at the University of
Chicago. I took many courses under outstanding professors
particularly in the field of Psychology, Sociology, Anthropology,
and Art History. As always I was looking, looking and observing.
After 6 years at the Art Institute. I taught for 12 years
first for 5 years at a college for teachers where I continued my
study of all age levels with an emphasis on the exceptional, the
gifted, the emotionally disturbed. the physically and mentally
differentiated. Then 2 years at the Institute of Design. Finally 4
years at Arizona State University.
All during the time of teaching I was working on my painting and
sculpture knowing that at the age of 40 I would stop teaching and
start my painting and sculpture full time.
At the time that I stopped teaching I was making very disturbing
Social Signifigance paintings describing the ills of the
world. In retrospect I see these paintings as, besides being
the reflection of a natural growth process, a reflection of my
most disturbing early adulthood. This period was
complicated by army service, a devastating divorce from a brilliant
woman, Elisabeth Owen, with whom I had three boys, and the
loss of a child early in my second marriage, a marraige which has
lasted 53 years.