About Michael

I am a self-taught artist merging 50 years of professional woodworking with a serious appreciation for all types of art mediums and styles. I’ve had gallery representation primarily in Northern California from Carmel, Monterey, and Sausalito to San Francisco. 

Initially, my art involved glass, ceramics, and mosaics. This was my foundation. From 1978 to 1987, I trained at a stained glass studio in San Francisco. At that time I was executing about 175 flat panel windows—that developed later into “Flying Rooster Glass Works” made of sculptural stained glass weather vanes—with an emphasis on roosters, mermaids, and abstracted windblown forms. 

 

Michael’s Studio

In 1983 my mother introduced me to stone carving; however I quickly tired of the loud noise, dust, and the heavy labor of moving 200-400 pound marble, slate, and onyx around my now filthy garage.

Through my European travels over 20 years, I unknowingly discovered that I had exposed myself to every major museum that crossed my path; sculpture moved to the forefront of my art appreciation. I had a special affinity for antiques and surrealism.

For the past eight years, I’ve worked with single-mindedness on sculptural artworks, like dolls, mannequins, skulls, and fabrics, which has allowed me to explore my own creativity with mixed media assemblage. 

Included on this website you’ll find photography and jewelry, as they describe what I do in my spare time. When I’m not creating something of my own, I’m also on the hunt to work in a collaborative effort with other artist friends.

I hope you enjoy my work and should you desire to see additional pieces please feel free to contact me at my studio: 650-868-3650 or email or stop by Emerald Hills/Woodside, California, a very small town near Palo Alto and Silicon Valley.


How I Work in My Studio

For the most part, I work alone- having learned to be comfortable without much conversation- in the absence of such distraction and feeling a forced need to respond; I’m inspired to create new friends and acquaintances that I believe appreciate my silence. 

However, they do communicate and share vague convivialities when exhibited to strangers. 

(Example: Roller Derby)

Seriously though, I’m happy working alone outside the range of helpful critics, until the piece is done. 

In the end, the artwork speaks for itself.

 

Roller Derby