have worked in various media throughout my life, studying painting
and glass at the School of The Museum of Fine Art in Boston, as
well as the Skowhegan School of Painting and Sculpture in Maine.
My training held me accountable for honesty of purpose and demanded
that I possess a truly critical eye toward the quality of my work
- both necessary for a lifetime in art. I deal primarily with
animals, secure in safe places, and am also intrigued by the concept
of inanimate objects having feelings and an inner life.
In recent years my work has focused more on animals.
They play such an important part in many of our lives, and I have
always been drawn to them: the way they express themselves, their
shapes, and the fact that they almost always forgive. The tactile
nature of clay provides a great opportunity for expressive gesture,
and I prefer to leave the evidence of my touch, moving quickly
to maintain a sense of physicality and life breathing from my
forms. I aim to have my sculptures convey the energy and essence
of the subjects they represent.
In an uncertain and often scary world, I don't feel
the need to be confrontational through artwork; I would rather
encourage empathy as opposed to alienation.
My pieces are often fired repeatedly from high to
lower temperatures, offering me a huge color palette to draw from
and an increased depth and layering as a result. The process offers
so many surprises: one never knows exactly what will come out
of the kiln ~
Tom Collins of the Albuquerque Journal describes
my animal miniatures and wall-hung pieces as fast, loose
and amazingly affecting evocations....The visible pressure of
each finger stroke somehow has molded (Josephs) visage and
more importantly, his personality.