In my co-creative relationship with the stone, I feel a sense of energy and knowing, which activates my intuitive sensitivity and generates a lot of excitement for me. Looking at the stone, my imagination initiates possibilities as recognizable forms emerge in my mind. I find that it is best to allow initial impressions to “rest” on the back burner until I have a chance to become more present with the piece on a deeper level.
Holding or placing my hands on the stone, I sense the space inside it and become aware of how it resonates in me. Sometimes this feels light and joyful, other times it can feel deep and mysterious. Sometimes I feel clueless and put the piece down. Sometimes I feel a bright powerful quality of spontaneity, while other times I feel weightless anticipation, like being in midair after jumping off a rock into a cool lake.
Carving stone brings me into “stone time,” an experience where the millennia and the moment converge with intention and presence. Stone time has a very basic language of “yes” and “no” — not so much “go” or “stop” but “do” and “do” or “not do” or “do differently.” Although stone time can appear slow from one perspective, it is incredibly rich and fascinating, as time travels very fast from another perspective. In this place, I discover much about inner dimensions of harmony, rhythm, form, beauty and perhaps most importantly, flow.
I work with the essence and timeless quality of stone. Carving stone brings me into an experience where the millennia and the moment converge with intention and presence. Each of my stone sculptures is something that I arrived at through a process of trusting my connection with the stone and staying focussed from a heart centered awareness. I do not start with a sketch or a clay model. I don’t visually see something in the rock and bring it out. I don’t impose an idea on the stone. I let the stone show me in the moment.
After 25 years of making art, this is where I find the most freedom. Being shown. I've learned more about listening with my heart, hands and my whole body. I have learned to trust my connection with a piece of the earth and follow the direction that it leads me. I intuit where the stone wants to begin and work with tools until that part of the stone begins to feel resistant or hard, as if I excavated to a part of an inner form that I do not see nor understand. By rotating the piece to its next place, I work the stone again until there is a sense of encountering something that wants to remain.
Stone has taught me about the silence where my creativity connects with an inner source. In this new body of work, I see the meaning of my art from a deeper place, another reality that interweaves with this world by means of being creatively present from a joyful place. As I commit to the process, I listen, staying open and receptive. This process keeps me excited about revelation, seeing the creation being revealed, and honoring that process. I enjoy trusting the wisdom in it and knowing that it really is the joy that I feel that keeps me on course to the final polish.
Vision (owl) Utah marble on a Belgian Black marble base with Italian turning pin to rotate the piece freely sold
Mahalo Utah translucent orange alabaster on white Carrara marble $1,350
Butterfly Woman (original) Italian translucent alabaster * NFS
Intelligence of Life Brazillian soapstone sold
Peacemaker Carrera marble $800
Unicorn alabaster on serpentine $300 sold
Whale Song Montana soapstone $850
Ascension (female torso with infinity symbol) Carrera marble with gold gilding $2,400
Cetacean WisdomChlorite, dark green/black Canadian soapstone $1,800
Cycles lepidolite, (lavender lithium quartz with pink tourmalines) $300 sold