In this section, you’ll find multiple step-by-step demonstrations addressing some of the common questions I receive—whether about stone carving, the lost-wax process, drawing, or painting. My goal is to share insight into the steps and processes that each art form undergoes, from initial concept to completion.
I believe that a well-rounded artist should not only work in two dimensions but also explore three-dimensional forms. Engaging with sculpture and other tactile mediums deepens our understanding of structure, space, and the world around us, teaching us how to transform the ordinary into the extraordinary—something artists have been striving for since ancient Egypt.
(I hope this page helps answer any questions, just be prepared for a lot of scrolling)
I believe that a well-rounded artist should not only work in two dimensions but also explore three-dimensional forms. Engaging with sculpture and other tactile mediums deepens our understanding of structure, space, and the world around us, teaching us how to transform the ordinary into the extraordinary—something artists have been striving for since ancient Egypt.
(I hope this page helps answer any questions, just be prepared for a lot of scrolling)
Direct Carving: Marble
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Graphite on Paper:
When starting out, I like to draw very lightly, keeping the lines so faint they’re barely visible to the naked eye. Using an F or HB pencil, I begin by laying in the main contours and light values of the subject. Once I’m confident with the composition and structure, I start to focus on value—squinting to simplify what I see and matching the tonal range accordingly. Gradually, I build depth by pushing my darkest darks from a B to a 4B or 6B pencil, while simultaneously refining the highlights by lifting the lighter areas with a kneaded eraser.
This process helps train the eye to truly see and understanding what it's observing, which is, in essence, what drawing is all about.
-"It takes 25 years to learn to draw, one hour to learn to paint". Ingres
This process helps train the eye to truly see and understanding what it's observing, which is, in essence, what drawing is all about.
-"It takes 25 years to learn to draw, one hour to learn to paint". Ingres
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Zen:
This sculpture began without a clear plan in mind, only the desire to create a portrait of some sort. It was also my first stone carving, so I had no idea how the end result would turn out. You see, when you first start carving stone, the process can feel intimidating—but as you continue, you begin to lose yourself in the rhythm of the work, entering a meditative, almost Zen-like state—hence the title.
The piece started in a very rough state, using large tools and hammers in sequence: the point chisel to break the stone, the tooth chisel to shape the contours, and finally the flat chisel to refine the form and prepare it for rasping and wet sanding. In a way, you’re freeing the figure from within the block of stone. This is the essence of the subtractive process—there’s no adding back what’s removed; it’s simply carve, carve, carve until the form is revealed.
As Michelangelo famously said, “Free the form from the stone.”
The piece started in a very rough state, using large tools and hammers in sequence: the point chisel to break the stone, the tooth chisel to shape the contours, and finally the flat chisel to refine the form and prepare it for rasping and wet sanding. In a way, you’re freeing the figure from within the block of stone. This is the essence of the subtractive process—there’s no adding back what’s removed; it’s simply carve, carve, carve until the form is revealed.
As Michelangelo famously said, “Free the form from the stone.”
En plein air:
Painting outdoors can be both an exciting and challenging endeavor due to factors such as changing weather, shifting light, and the need to carry supplies. Nonetheless, it’s a wonderful opportunity to step outside the studio and capture the essence of the outdoors. In many ways, you’re truly put to the test—working quickly to capture what you see in real time.
It’s often a good idea to start with a small canvas, roughly 7 x 10 inches, as this allows for a quicker and more manageable way to capture the scene in a single session. This particular painting, however, took about three days to complete because of its larger size.
As with all my paintings, I began by outlining the overall composition, followed by the initial block-in and the addition of the background. I don’t focus too much on every detail; it’s more about capturing the overall impression and mood of the scene.
It’s often a good idea to start with a small canvas, roughly 7 x 10 inches, as this allows for a quicker and more manageable way to capture the scene in a single session. This particular painting, however, took about three days to complete because of its larger size.
As with all my paintings, I began by outlining the overall composition, followed by the initial block-in and the addition of the background. I don’t focus too much on every detail; it’s more about capturing the overall impression and mood of the scene.
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