As a painter I also read the aesthetic thinkers and art critics of our time, both American and European, but I didn’t really connect with the canon, as they say. Perhaps the reason for this was my multi-lingual and multi-cultural makeup. I tend to side with Vico’s philosophy when he says we know what we make.

This is particularly true of my welded and bolted steel sculpture, which has, since the middle eighties, always been a parallel activity to my painting. Most of my sculpture is also hinged, making it “collapsible” and easier to transport. Working in steel is physically difficult and, at times, dangerous work. Steel is not easily malleable. Sculpture is, to my mind, less cerebral than painting, and closer to our daily physical lives. In steel sculpture there is little room for pretense, be it conceptual or technical. The sculptural experience, to use a shop worn phrase, ranges from jewelry to the pyramids of Egypt, from the experience of walking in a forest to that of lifting up a child, and in such experiences is meaning embedded. My sculpture can be appreciated in a room, on a lawn or in a gallery, and it requires little maintenance. The common denominators between my sculpture and my painting are, clearly, my hands’ physical activity, which inform both my two and three-dimensional concerns. I also make tables out of steel, which I paint with motifs from my painting.