In looking over my collection of Foundlings, it seems that I have been going in conflicting directions with my Foundlings. There is the gold or silver direction; the complex or minimal direction; and then there is the image or graphic direction. The image or graphic direction seems to be the most problematic for me. With an image direction, I incorporate a representational object, or several representational objects within a Foundling. I am concerned about using someone else’s art but I have come to terms with this by firmly integrating the object within the larger more complex piece. In “Hand of Dave” (left) I am using several objects, a hand that I found in an antique store in Santiago, Chile; the “Hear no Evil” monkeys that I have had in my studio for decades, and an old tintype. These objects, like points of interest, give the viewer a more direct entry into the piece. In 70 Degrees, it is a study of pure form.

Sometimes I feel like it’s easier to depend on these representational objects and yet it is extremely difficult to integrate them into a Foundling. It’s as if these pieces are reluctant to give up their identities for the greater good of the piece. On the other hand, the Foundlings with pure form, are not as warm. Each direction has its own strengths and each makes for difficulties in their path to creation.

As I create more of these Foundlings, it is my hope that the path to take will become clear. Or perhaps I am meant to take more then one path, and that will become clear.