Marion and I have been involved in the arts all of our lives. We believe that art is essential in education and for a full life. For many students in poor and uneducated families it is the difference in stimulating a desire for learning and ability to excel beyond the expectations of the family. For our community the arts help make meaningful the lives of individuals of all ages and of all cultural backgrounds.

In my family when I was a child, my parents sent me to wood carving class at Oklahoma City University. When we had seen clay bowl making on vacation in Mew Mexico, my father made a turntable at home for me to work with clay. My sister became a well known artist, illustrator, fashion artist, singer and pianist in the Dallas and North Texas area. She collaborated in composing and illustrating children's hymns and anthems published nationally.

In school I excelled more in woodworking and mechanical drawing than I did in art. In high school I drew plans for the home we built in Highland Park, Dallas, across from Southern Methodist University. My arts became more music oriented by playing in the SMU band later singing in choirs for many years.

Throughout our marriage Marion and I have spent our vacations all over the world and in the USA visiting museums, cathedrals and architectural masterpieces, since this had been vital in both of our lives even before we had met.

On Christmas several years ago, Marion had 50 pounds of clay under the Christmas tree as a stocking present. When I asked what it was for, Marion said, "You have the hands, you have the imagination, all we do is go to museums, get to work."

Over the years as an adult, I had taken some lessons in painting. What I did was so meticulous but inartistic that I could not stand it. In contrast, when I had clay in my hands it would seem to form itself. Marion said that when she would come through the room where I was working, I would not even know she was there. Over time I have used oil based and water based clay, wax and plaster.

At times I start with a definite idea that I want to express in bronze sculpture. Other times I start with clay and observe the shape that develops. I start with small models of clay. At times the first model is the best, at other times many revisions are needed or the concept is not viable.

For large pieces, the mechanical drawing learned in junior high with many measurements yields patterns of paper that makes easier the molding of the larger version of the sculpture.

Although I have read several books on sculpture techniques, most of what I have done has been the result of experimentation with a variety of materials. Large pieces require a very precise framework on which a finish coating of plaster or clay is applied, producing the texture desired. Others may be entirely of clay.

Most of my sculptures are free form pieces with relatively simple lines to express an idea or emotion. On one occasion Marion gave as a present a two day group lesson for two days with Lena Beth Frazier, a fine sculptor in Norman, Oklahoma. As the first time with a live model, a bust and torso of a young woman resulted. The only other attempts at human forms has been producing caricature busts. The first sculpture I completed was a free-form kneeling nun. Primitive style small sculpture of mother and child, family or individuals are personally satisfying. The same is true of rough experimental geometric forms.

Tommy Hicks, the founder and owner of Shidoni Foundry in Tesuque, New Mexico near Santa Fe had been a friend of Marion since he was a professor before starting the foundry. My first and many of my other sculptures have been cast there.

Because of its proximity and the excellence of its castings, the Bronze Horse in Pawhuska, Oklahoma has also cast a number of pieces.

All sculptures are limited editions or unique. Some are bronze models of potential monuments.