This sculpture, “Dream Deferred 2024”, was inspired by a line from the poem of Langston Hughes, Harlem. My art uses the words, Dream Deferred, but in another context. Here the meaning involves a house and the relationship to the machine as the focus. Motion is implied. Each piece is heated and reshaped using an acetylene torch, hammered, stick welded and painted. 57"h. x25"w. x 24"d. 2024

This sculpture, entitled “Winged Victory of Ukraine”, was inspired by the illegal Russian invasion of Ukraine beginning in 2022. The piece uses the Greek “Winged Victory of Samothrace” as the metaphoric launch point. My steel symbol of defiance and hope was constructed of discarded steel. I seek to evoke the enduring Ukrainian spirit through this construction which is visually reminiscent of shattered building steel of the bombed buildings. Each piece is heated and reshaped using an acetylene torch, hammered, stick welded and oiled.

This sculpture, “Chevaux Sauvage”, was created after a long hiatus of almost over 30 years. This form was inspired by one of my collectors who owns two of a similar size and asked, “have you ever made any more like mine? This assemblage was made from locomotive, tool and construction elements and proportioned based upon a wild horse. Each of the sculpture’s elements are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

“Tool House”, is the largest in the series of house shapes. I have created many house pieces over my career. This sculpture uses the simple gable design. Each of the segments are constructed of tools that I have used; wrenches, chisels, hammer and a large spikes. Each piece is heated and reshaped using an acetylene torch, hammered, stick welded and oiled.

Flower Power is constructed as a rebirth of forgotten tools. The vertical presence evokes a growing plant form like those that delight us in spring as they reach for the sun. This transformation from rusted tools to a new metallic climbing flower is meant to elevate forgotten and misused steel to a new symphony of vitality. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with oil.

While living on the Hockley estate in Bedford, NY. I was fascinated by their family history. Originally from England, the Hockleys were the carriage builders of this area in the mid 1800s. In tribute to this working family, I created my own carriage using old tools found in the workshop. Above this is centered a Greek chorus like assembly of hay rakes. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Wrench votive is another of 29 consecrated sculptures. For my entire career, I have used recycled tools to create my works. These pieces give homage to all the abused, broken and discarded tools lying in tool boxes and drawers. These tools were the building blocks for my lifetime of art creativity.

Shear votive is one of 29 consecrated sculptures. For my entire career, I have used recycled tools to create my works. These pieces give homage to all the abused, broken and discarded tools lying in tool boxes and drawers. These tools were the building blocks for my lifetime of art creativity.

“Nest”, is an abstracted vertical perch which supports bird like creatures. Constructed of odd angles and edges it is uninviting to visitors while providing safety to its occupants. This sculpture is reminiscent of a larger nest that i completed in the 1980’s. Each piece is heated and reshaped using an acetylene torch, hammered, stick welded and oiled.

The work is a repurposed red heart shape near the top of a ladder/scale. The idea inspiring the piece was the movement of an emotional heart and it’s journey in time. The ladder/scale is the measurement. The sculpture implies that the heart can move up or down.

My sculpture, entitled True North Hockey Farm was the first assemblage created in 2019. The piece creates a dynamic thrust, like a compass to True North. Inspired by the family relocation in Northern Westchester County, New York, the salvaged steel ascends from its railroad base through its motor crankshaft before it finishes into the reclaimed diamond plate. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

True North Hockley Farm, 23”h. x 38”l. x 8”d. welded steel with oil. 2019.

“OM”. This sculpture is constructed of Detroit Guns bought off the street and welded shut by Caliber Collection. The piece’s base used was parts of the CTME Semi Automatic 3.08 and a Repeating Rifle. I used the rifle barrels and trigger mechanisms to create the "bonfire" below and bullet magazine to create the most upper suspended section of the OM symbol. There are other recycled clamp parts in there too. The Gallery exhibit, "Raise the Caliber” highlighted the sculpture with all Caliber art sales giving a 20% portion directly to Caliber Collection to buy more guns off our streets. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil and paint.

My sculpture, entitled “Leap”, is another in the series of jumping animal forms. Using abstract feral shapes, I let the viewer anticipate what is not described and encourage the mind to see a remembrance to nature. This piece is constructed of recycled cast offs and industrial nails. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

“Kharon”, is based on the boat that the ferryman transported souls across the river Styx and Acheron. Rising from the diamond plate base, the body of the vessel was created from a truck suspension element. A hay rake fills the bow and 19 century farm implement rides amidships. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

“Kharon”, 24”h. x 21”l. x 12”d. welded steel with oil. 1999.

My sculpture, entitled “Nest”, is based on a shelter of sorts. Constructed with sharp angles and edges it is uninviting to visitors while providing safety to its occupants. This sculpture also bears the “house” shape welded to the base. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

My iconic sculpture, entitled “Madonna and Child”, is homage to the Michelangelo sculpture of the same name from 1504. The piece is constructed of curvaceous chain links for the mother and a compressed rocket shape for the boy. I have used classical historic materials from my fascination of art history in many of my welded assemblages. Madonna and Child is one of my earliest constructions after establishing my studio in New York.

The work is a repurposed red heart shape near the top of a ladder/scale. The idea inspiring the piece was the movement of an emotional heart and it’s journey in time. The ladder/scale is the measurement. The sculpture implies that the heart can move up or down.

Created in 2020, 23”h. x 8”w. x 5”d.

“True North Hockey Farm” was the first assemblage created in 2019. The piece creates a dynamic thrust, like a compass to True North. Inspired by the family relocation in Northern Westchester County, New York, the salvaged steel ascends from its railroad base through its motor crankshaft before it finishes into the reclaimed diamond plate. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

23”h. x 38”wl. x 8”w. recycled steel with oil.

“Leap”, is another in the series of jumping animal forms. Using abstract feral shapes, I let the viewer anticipate what is not described and encourage the mind to see a remembrance to nature. This piece is constructed of recycled cast offs and industrial nails. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

Leap 20”h. x 16”w. x 5”d. 2018

“OM”. This sculpture is constructed of Detroit Guns bought off the street and welded shut by Caliber Collection. The piece’s base used was parts of the CTME Semi Automatic 3.08 and a Repeating Rifle. I used the rifle barrels and trigger mechanisms to create the "bonfire" below and bullet magazine to create the most upper suspended section of the OM symbol. There are other recycled clamp parts in there too. The Gallery exhibit, "Raise the Caliber” highlighted the sculpture with all Caliber art sales giving a 20% portion directly to Caliber Collection to buy more guns off our streets. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil and paint.

OM 36”H. X 10”W. X 15”D. 2018.

“Oiseau”, is another in the series of bird forms. Over the years I have created many bird pieces. This sculpture borrows Fernando Botero’s style, “Boterismo”. The exaggerated volume of the body coupled with the abstract minimalism of the shape inspires humor. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

Oiseau, 19”H. X 16”L. X 10”D. 2018.

“Nest”, is based on a shelter of sorts. Constructed with sharp angles and edges it is uninviting to visitors while providing safety to its occupants. This sculpture also bears the “house” shape welded to the base. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

Nest, 21”H. X 16”L. X 13”D. 2018.

I began making pieces inspired by Bambara antelope and Senufo bird sculptures. The Senufo artists create a small wooden bird sculpture, which is worn over the head and primarily used to promote a good outcome during a planting festival. The first Senufo is abstract in form and constructed from a window gate and a transmission that I spied while on the first date with my wife. After a long evening, I raced back near 48th street where I retrieved the metal off the curb.

Senufo #1, 35”H. X 33”L. X 15”D. welded steel with oil.

Senufo #2 has a second head in the center along with more traditional looking wings.

Senufo #2, 35”H. X 26”L. X 10”D. welded steel with oil.

Senufo #3 resembles the traditional African style with the male/female duality, penis bill and pregnant stomach. However, I added three house forms to the flat wings because, well, I wanted to. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Senufo #3, 34”H. X 28”L. X 13”D.

I have admired African sculptures since the 1970s. I had the good fortune to visit sculptor Richard Hunt’s large African collection in his Chicago studio in 1982. Sixteen years later, I began making pieces inspired by Bambara antelope and Senufo bird sculptures. The Senufo artists create a small wooden bird sculpture, which is worn over the head and primarily used to promote a good outcome during a planting festival. “Pez Lives” is an African inspired “Pez” toy displayed in recycled steel. I based this piece on the plastic candy toy dispensers from the 1950’s. Each toy had a head of a comic character and to receive the candy you flipped the head back and the candy was dispensed. My sculpture is exactly the same, but when you flip the head back and it dispenses a metal washer instead. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Pez Lives!, 46”h. x 8’w. x 16”d.

I have admired African sculptures since the 1970s. I had the good fortune to visit sculptor Richard Hunt’s large African collection in his Chicago studio in 1982. Sixteen years later, I began making pieces inspired by Bambara antelope and Senufo bird sculptures. The Bambara artisans created sculptures of Ibexes used in fertility rites. This sculpture is my interpretation of that wonderful art in recycled steel. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Ibex, 66”H. X 22”W. X 6”D.

“Kharon”, is based on the boat that the ferryman transported souls across the river Styx and Acheron. Rising from the diamond plate base, the body of the vessel was created from a truck suspension element. A hay rake fills the bow and 19 century farm implement rides amidships. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

Kharon, 24”h. x 21”l. x 12”d. welded steel with oil.

“Madonna and Child”, is homage to the Michelangelo sculpture of the same name from 1504. The piece is constructed of curvaceous chain links for the mother and a compressed rocket shape for the boy. I have used classical historic materials from my fascination of art history in many of my welded assemblages. Madonna and Child is one of my earliest constructions after establishing my studio in New York. Welded steel with paint.

Madonna and Child, 32”h. x 25”w. x 8’d. welded steel with paint.

First Prize, Albert Jacobson Memorial Award
43rd Art of the Northeast USA Exhibition, 1992
Silvermine School of Art, New Canaan, CT
Curated by Eliza Rothbone, Philips Collection, Washington, DC

“Westchester sculptor born in Detroit, Robert Spinazzola, takes on the auto industry by way of a steel assemblage titled, ‘Detroit Ca Va.’ The skeleton of a horse (symbolizing horsepower), is frozen mid-gallop on a wheel that would operate a drill press if it moved, but it does not. Nor, in the sculptor’s view, does the auto industry. Maybe he should have called the piece, ‘Detroit C’est Fini.’ ”
—Vivian Raynor, The New York Times, May 31, 1992

“Robert Spinazzola lives in Hastings on Hudson but he began his career as a sculptor in Detroit, and his installation “Gates of Eden”- one of the highlights of the ArtsWestchester’s captivating ne “Rubbish! Art and the Ecosystem”- is an elegy for the Motor City in the age of the no longer Big Three. In the steel and oil work, a wolf bares his teeth at Eden’s for, which turns out to be part of an unpainted, upside-down Chevrolet. Its a brilliant metaphor for our times really—at once familiar and unusual, visually succinct and viscerally on the money.” - Georgette Gouvia, The Journal News, May 31, 2009

1991, steel with paint and oil, 60"h x 72"w x 96"d

“Another Spinazzola piece is a twofer, referencing the collapsed housing market as well as the auto industry. “La Ville Industriale fin de Siecle” depicts a Detroit assembly line that turns out houses instead of cars. In the sculpture, two mechanical arms form a bridge over the bird size houses, recalling a scene on Michelangelo’s Sistine Chapel in which God reaches out to infuse Adam with life.”—Georgette Gouveia, The Journal News, May 31, 2009

“Another Spinazzola piece is a twofer, referencing the collapsed housing market as well as the auto industry. “La Ville Industriale fin de Siecle” depicts a Detroit assembly line that turns out houses instead of cars. In the sculpture, two mechanical arms form a bridge over the bird size houses, recalling a scene on Michelangelo’s Sistine Chapel in which God reaches out to infuse Adam with life.”—Georgette Gouveia, The Journal News, May 31, 2009

La Ville Industriale fin de Siecle, 2007, steel with oil, 84"h x 85"w x 18"d

“Another Spinazzola piece is a twofer, referencing the collapsed housing market as well as the auto industry. “La Ville Industriale fin de Siecle” depicts a Detroit assembly line that turns out houses instead of cars. In the sculpture, two mechanical arms form a bridge over the bird size houses, recalling a scene on Michelangelo’s Sistine Chapel in which God reaches out to infuse Adam with life.”—Georgette Gouveia, The Journal News, May 31, 2009

La Ville Industriale fin de Siecle, 2007, steel with oil, 84"h x 85"w x 18"d

The Layoff Bingo game is played along the lines of traditional bingo. First, you pick out one of the three, two sided game cards. Next, the large inner number disk is spun counter clockwise until the disk stops at the central vertical indicator. Finally one places a stamped coin on the corresponding square on your game card. Spell out “layoff,” “drug abuse” or “death” and you win! Actually, everyone who plays the game loses.

The Layoff Bingo game is played along the lines of traditional bingo. First, you pick out one of the three, two sided game cards. Next, the large inner number disk is spun counter clockwise until the disk stops at the central vertical indicator. Finally one places a stamped coin on the corresponding square on your game card. Spell out “layoff,” “drug abuse” or “death” and you win! Actually, everyone who plays the game loses.

Highway 61 is created with life size cutout figures and was inspired by a Bob Dylan song. The three figures represent Abraham, Isaac and the Angel. Isaac lies in a sacrificial position while the Angel is upside down balancing a wheel on his foot. In the center is a spinning tool wheel.

Photo taken outside my Hastings on Hudson Studio added for scale of the piece.

This is the largest of the 30 bird sculptures that I have created. Atop spindly legs, a mechanical stomach and wings constructed from lawn mower blades, sits a head with a small house as its skull. I have used the 3 dimensional house form in several large sculptures: Dream Deferred, La Ville Industriale and Detroit Entre Deux Lacs. The house form has a fond centering element to me. The steel sections of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

Bird With a House in its Head 87”H. X 47”L. X 35”D. 2013

Le Detroit Entre Deux Lacs“ is the six exploration of Detroit, Michigan’s auto industry. The viewer may interact with the various handles, knobs and disk brake components. Additionally, they may rotate the upper house element. The red water tanks, (which represent lakes St. Clair and Huron), are connected to each other but not to the free standing industrial assemblage which towers above them. Detroit gained its name from the Fresh trader, Antoine Caddilac, who named the Western area of the two land masses that the river divides.

Le Detroit Entre Deux Lacs. 80”H. X 48”L. X 54”D. Welded steel with oil. 2010.

Font of Remembrances is a freestanding employment recollection. The idea was conceived as a totem to industries that have disappeared and with that, jobs. The base is constructed of a bent I beam, tools and spare steel. The center contains two crossed arms over an offertory bowl above which are gears rising to a crown of sorts. The sculpture has funerary elements for me. The steel parts are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

48"h. x 44"w. x 22"d. steel with oil. 2009

My sculpture, entitled “Tool House”, is another in the series of house shapes. I have created many house pieces over my career. This sculpture uses the simplest gable design. Each of the segments are constructed of tools that I have used; drill, chisels, railroad nail, cat’s paw and a nail gun barrel. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

Tool House 12”H. X 12”L. X 1”D. Welded steel with oil. 2012.

My sculpture, entitled “Chevy House”, is another in the series of house shapes. I have created many house pieces over my career. This sculpture uses the vertical shed design. Interestingly, the main body of the shed came from my Chevrolet Astrovan undercarriage! Welded to this body is a “house” shaped plate. Each sculpture piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

Chevy House 18”H. X 6”L. X 2”D. Welded steel with oil. 2012.

“Tigre”. steel with paint. 75”H. X 102”L. X 36”D. 1998.

The Tiger sculpture is my symbol of the Mid-Western economic engine returning. Inspired by William Blake, The Detroit Tiger baseball team and the Chinese Year of the Tiger, this work leaps off its base and out into the viewer's space. Constructed of more that a hundred recycled pieces of steel, shaped and welded together, the sculpture is bolted to the base with two 1" bolts. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Rustoleum primer and finish paint.
photo R. Baunok

“O.L.P.M.”, 84”H. X 38”W. X 22”D. 2017. welded steel with paint.

O.L.P.M., (Our Lady of Perpetual Motion), is the mixing of the Jetson’s maid, Rosie and Mother Mary in steel. Sunday mornings, I’m praying that I don’t meet a deer with my motorcycle at 7 am. while riding in Northern Westchester. The wheel element is used twice and the silver paint exudes a 1960’s tone to the work. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

Solo exhibit at Helios Gallery, 580 Broadway, NY. 1991

“Geeks”, 64”h. x 14”w. x 10”d. *Each Geek is different in size.

The “Geeks”, are humorous celebrations of fish crows, which were frequent visitors to my Hastings on Hudson studio. There they perched outside on electrical lines directly in front of my garage and squawked loudly. In these works I have lengthened the bird’s legs to four feet and balanced them of one foot implying movement. My geeks are headed toward the blue, (sky). It is a journey that they can only wish for but never achieve. These sculptures move in the wind. The steel elements are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is painted. Four new Geeks were requested by my gallerist in 2016 after I had produced and sold 21 over 25 years. In a Henry Ford type fashion, I created an assembly line and produce a new gaggle of 19 Geeks. Each Geek signed and is numbered on its wing. Numbers 25-38 are available. There are only 6 painted Geeks; black bodies with blue heads.

“Meditation”, is a recycled farm plow restructured as a horse saddle. The solid steel presence as opposed to soft a leather mount, suspends the idea of movement. Without an animal beneath , this elemental statement is meant to questions man’s domination of other creatures

48”h. x 34”w. x 15”d. welded steel with paint.

“Tree/Machine. welded steel with oil. 48”H. X 20”L. X 18”D. 2001.

My sculpture, entitled “Tree/Machine”, is a testament of nature over machines. Constructed of a mechanical movement device and automobile flywheel base, the tree form organically rises vertically to end its journey into budding limbs. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

“Les Lions”, 46”h. x 24”l. x 8”d. welded steel with oil. 2002.

Lions are another humorous departure for me. These lions could tower over the entrance gate at my Detroit estate, Navin on Windsor. The stark lion abstraction, coupled with the simplified but fierce head gestures would deter any unwanted visitor. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

Red Horse (Jument Sauvage, and several others) was inspired by meeting Italo Scanga and seeing his wooden sculptures in 1982.

This is my first standing horse sculpture since the 1990’s. The size is that of a newly born foal. The abstract nature of the piece harkens back to my first horses, which were quite spindly and humorous in the early 1980’s. I had met sculptor Italo Scanga while working as the head preparator at the Neuberger Museum of Art. His log sculptures were fascinating and inspiring. Soon after, I began creating large metal horses. This sculpture is created in a simple design and uses several early 20th century wrenches, drill bits, machinery and cast offs to comprise the legs, body, and head. The position is that of a new arrival on the planet, wide-eyed and aware. The steel elements are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

“Sauvage Nouveau”, 46”h. x 42”l. x 20”w. steel with oil 2018,

I returned to the Eohippus, (dawn horse), only because the worn tools enticed me from my studio table. Eohippus was the first true horse standing 20” to the withers 55 million years ago. My piece uses a truck brake shoe as the main structure supporting the chest. The wrenches, machinery and bits comprise the body, legs and head. Lifted above a wooden base, the sculpture flies aloft like a figure from a Currier and Ives 19th century lithograph. The steel elements are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

“Eohippus”, 43”h. 40”l. x 19”d. welded steel with wood and oil. 2018.

I was invited to create a horse weathervane for a collector in Bedford, NY. in 1992. Afterwards, I decided to use the image as wall sculptures. I created four units, two facing left and two facing right. Each piece is constructed of recycled rebar, hooks and large refashioned saw blades. The sculptures were shaped, stick welded and oiled.

Cheval Du Vent, 24”h. x 48”w. x 2”d. 2014-2016

 These sculptures, (Chevaux Sauvages ,#8,9,10.), were created after a 24 year hiatus. I had created many horse power inspired works until 1991. A gallerist requested one horse head for a client in 2015, I made four. These works led to re-imagine the horse image in my work. The gestures of each head are different as are the styles. These free standing pieces are based upon a 16 hand horse.

"Chevaux Sauvage", #8. 53”H. X 30”L. X 15”D. steel with oil. 2015

Meditation is a recycled farm plow restructured as a horse saddle. The solid steel presence as opposed to soft leather mount, suspends the idea of movement. Without an animal beneath, this elemental statement is meant to question man’s domination of others creatures. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

“MLP” 28”H. X 26”L. X 5”D. 2018 Welded steel with oil.

After creating #10 Chevaux Sauvage, I wanted to do something gestural with a horse image. I used small tools and industrial nails to create the wall sculpture. It piece began to have a delicate sensibility that I rarely use in my work and I didn’t fight but in fact gave in to it. “MLP” is short for my little pony. The steel elements are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

“Le Grotte Cheval”, 55”H. X 26”L. X 3”D. 1985-2018. Welded steel with oil.

This sculpture, entitled “Le Grotte Cheval”, was created after a trip to France and seeing the reproduction of the images in the Lascaux Caves. There were ten different pieces from which I used salvaged steel from a junkyard to create my own “cave drawings”. Horses represent horsepower and that all stems from my Detroit auto centric upbringing. The PepsiCo Corporation along with two smaller wall sculptures purchased this piece in 1985. In 2018, the PepsiCo Corporation sold the building in Somers, New York where this large wall sculpture resided along with most of the collection. All the works were auctioned off and the money was given to charities. I was alerted to the auction and outbid several buyers to re-acquire it. I also modified the right side of the piece; shortening it and allowing me to create another separate work called, “Cheval de Pelle”. Each element is heated and reshaped using an acetylene torch, hammered and then stick welded.

“Cheval de Pelle”. 11”h. x 16”l. x 3”d. steel with oil., 2017. This sculpture, “Cheval de Pelle” was created from a section of “Le Grotte Cheval”, in 2017. The right side of Le Grotte Cheval was shortened 12” in length and one image was retained. Shortening the large piece added intensity to Le Grotte Cheval while also reducing the bulk and weight. The Cheval de Pelle image was welded to a recycled plate and shovel elements. This piece and its progenitor were created after a trip to France and seeing the reproduction of the images in the Lascaux Caves. Each element is heated and reshaped using an acetylene torch, hammered and then stick welded.

“Tribute”, 36”h. x 10”w. x 20”d. fiberglass and wood with paint, 1990 In 1982 I attended an Yves Klein Exhibition in Chicago. Fascinated by his life and work, I created this piece from a discarded hobbyhorse. I had painted it blue yet it seemed unfinished. A few days later inside the Ossining Library, a dapper older gentleman in a grey suit accosted me. My friend Susannah Reich and I were looking at VCRs, inside the library, twenty feet from the front doors. This man approached us by coming directly from the street, through the glass doors and spoke directly to me saying, “ When Einstein died, he made you boss?” He then turned around the exited the library, reached the outside sidewalk and disappeared. The next day I painted those words on the horse. Was that Yves in spirit, or a lunatic?

The first Senufo has transmission gears in the center body area along with window gate wings. The Senufo artists create a small wooden bird sculpture, which is worn over the head and primarily used to promote a good outcome during a planting festival.

Senufo #1. 35”h. x 32”w. x 14”d. welded steel with oil finish. 2002

The Senufo artists create a small wooden bird sculpture, which is worn over the head and primarily used to promote a good outcome during a planting festival. Senufo #2 has a second head in the center body area along with more traditional looking wings.

Senufo 2, steel with oil, 35"h. x 26"w. x10"d. 2002,

Senufo #3 resembles the traditional African style with the male/female duality, penis bill and pregnant stomach. However, I added three house forms to the flat wings because, well, I wanted to. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Senufo #3, steel with finish oil, 34"h. x 28"w. x 13"d. 2010.

My sculpture, entitled “Oiseau”, is another in the series of bird forms. Over the years I have created many bird pieces. This sculpture borrows Fernando Botero’s style, “Boterismo”. The exaggerated volume of the body coupled with the abstract minimalism of the shape inspires humor. Each piece is heated and reshaped using an acetylene torch, hammered and then stick welded.

Oiseau, (Bird), 19”h. x 16”l. x 6”d., welded recycled steel. 2018

“Pez Lives” is an African inspired toy displayed in recycled steel. I based this piece on the plastic candy “Pez” toy dispensers from the 1950’s. Each toy had a head of a comic character and to receive the candy you flipped the head back and the candy was dispensed. My sculpture is exactly the same, but when you flip the head back and it dispenses a metal washer instead The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Pez Lives!, steel with oil. 46"h. x 8"w x 16"d. 1995.

Young Buddha is obviously about Buddhist iconography. All other Buddha art is tranquil and exuding serenity. My interpretation was to create an image of outward chaos. Why? Buddhism to me is mainly about the inner journey and beauty no matter what the exterior fabric is. This sculpture uses several discordant steel elements to create the volume of space: truck parts, gears and a hay rake. The steel parts are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Young Buddha, steel with oil, 20"h. x 18"w. x 11"d. 1996.

I created this sculpture with the humorous intent of borrowing a South Western looking skull that I had seen on a trip through Montana in 1984. My “Skull” I believe is original in a banal Disney skull element of today. The steel parts are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Skull, steel with oil finish. 16"h .x 9"w. x 13"d. 2002.

Bird Head was inspired by the cartoon magpies of the 1950’s. This sculpture honors the characters of Heckle and Jeckle. Being a smart aleck has been something that I have always admired. By sheer coincidence, I used the former garage of Frank Moser at 37 Hollywood Street in Hastings on Hudson, NY. as my second New York studio. Frank Moser was an artist and co-founder of Terrytoons cartoon films which produced Heckle and Jeckle. I worked in that space for 15 years. The steel parts are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Bird Head, steel with oil, 32"h. x 7"w. x 10"d. 2002.

Headdress has its origin in Meso-American iconography. The form is so compacting yet resolute. The sculpture uses a boilerplate, inverted as the main element. The steel parts are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Headdress, steel with oil. 11"h. x 15"w. x 4"d. , 1995.

Horus was an important Egyptian god. The name means “ the One Far Above”. The sculpture uses a car jack as the main element. The steel parts are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Horus, steel with oil. 16"h. x 4"w. x 9"d. 2002.

Attack Chichen created from furnace and recycled tools.

1995, steel with oil, 14"h x 7"w x 7"d

Lions are another humorous departure for me. These lions could tower over the entrance gate at my Detroit estate, Navin on Windsor. The stark lion abstraction, coupled with the simplified but fierce head gestures would deter any unwanted visitor. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

Lions, steel with oil. 46"h. x 11"w. x 8"d. 2002.

I began making pieces inspired by Bambara antelope and Senufo bird sculptures. The Bambara artisans created sculptures of Ibexes used in fertility rites. This sculpture is my interpretation of that wonderful art in recycled steel. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

steel with oil. 66"h. x 6"w. x 22"d. , 1995.

“Le Pêcheur”, (the fisherman), is another sculpture in the realm of humor. The large abstract bird has swallowed a big fish. Is this the final end for the fish or will he get away? The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with Val oil.

Le Pêcheur, steel with oil. 76"h. x 11"w. x 11"d. 2016.

This piece represents the word “Rat”, the first animal in the Chinese calendar. 2020 is the Year of the Metal Rat. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

“Rat”, steel with paint. 21”H. X 21”W. X 3”D. 2020.

“Love”. This kanji piece represents the word for “Love”. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is painted.

“Love”. welded steel with paint. 35”H. X 24”W. X 1”D. 2003.

This piece represents the word for Jade. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

Jade, steel with paint. 20”H. X 28”W. X 1”D. 2012.

This piece represents the word for Fire. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

Fire, 19”H. X 17”W. X 2”D. 2016. Welded steel with paint.

This piece represents the word for “Peace”, (Swords into plowshares). The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with oil.

Peace, welded steel with oil. 35”H. X 24”W. X 1”D. 2003.

This piece represents the word for “Horse”. Early Calligraphy used identifiable imagery for the viewer to understand the writing. The head and the mane are recognizable. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with oil.

“Horse”, steel with oil. 32"h. x 18"w. x 1"d. 2003

This piece represents another word for “Horse”. Early Calligraphy used identifiable imagery for the viewer to understand. Here, the head and the mane are less recognizable and more abstract. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with oil.

Horse #2., steel with oil. 37"h. x 15"w. x 1"d. 2003.

This piece represents the word for “Rooster”. Calligraphy used identifiable imagery for the viewer to understand. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with oil finish.

Rooster, steel with oil. 32"h. x 32"w. x 2"d. 2006.

This piece represents the word for “Ram”. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with an oil finish.

Ram, steel with oil, 36"h. x 27"w. x 1"d. 2003.

This piece represents the word for “Dove”. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with an oil finish.

Dove, steel with oil, 38"h. x 32"w. x 1"d. 2005.

This piece represents the word for “Family”. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with an oil finish.

Family, steel with oil, 10"h. x 12"w. x 1"d. 2001.

“Double Rabbit”, 72”h. x 57”w. x 17”d. steel with paint. 1998

Chinese Calligraphy has always fascinated me. I created these sculptures with admiration for brush strokes on paper. This piece represents the Rabbit in a hybrid form: the two dimensional Chinese calligraphy creating the bottom in red and the black leaping three-dimensional piece on top. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

“Fluidity”, steel with paint. 77”h. x 57”w. c 27”d. 1998

This piece represents the word for “ Fluidity”. The Oxford Dictionary description: “the ability of a substance to flow easily”. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

“Goodness”, steel with paint. 86”h. x 36”w. x 26”d. 1998

This piece represents the Goodness. The bottom element represents woman while the top half represents child. When woman and child are written this way it means goodness. The steel elements of the sculpture are heated with an acetylene torch, hammered, shaped and stick welded. After brushing the surface with an electric wire wheel, the surface is coated with paint.

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