My sculpture addresses two directions. My personal works are found in one area, some of which are highly stylized, but relating to the human figure. The other area contains my portraits and public commissions.

To pursue portraiture as a serious form of expression is difficult: curators and critics have historically ignored portraits, perhaps because of the personal connotations. More recently beginning with Daumier, artists have expressed themselves without regard for the subject's cooperation as purchaser. This, I believe, has led to a greater freedom of expression. Despite the limitations, I consider portrait sculpture to be one of my most rewarding creative efforts.

Regarding my more personal statements in sculpture, in the sixties I was very active in the anti-war civil rights movements. The titles I gave my works reflect those concerns: Shelter, Threatening Bureaucrat, Flayed Skull, etc. Since that time, while pursuing the ideas presented in a large body of work entitled Confined Woman, my work has become more complicated symbolically, so I decided to abandon titles.

Female imagery signifies the human condition. Women not only conceive life, but carry this new life and are provided with the means of directly caring for life after birth. Although I use female imagery, these works are androgynous in the larger context; they represent human symbols trapped and isolated, yet potent and triumphant.