Thus, I put out the word that I was selling some stone, some with initial carvings in the works. It took me a few years to accept that some stone carving projects had to be let go. When I left Texas in 2011, my heart was broken in so many ways. Michelangelo's David is the prime example of a fabulous use of another sculptor'sĭiscarded rock. However, it does beg the question about the destiny of a piece of stone. I then explained to him that regardless of his free-thinking, I am limited by the length of my life (information not at my disposal) and I was limited by the size of my block, which would never truly become larger, as well as similar limits of time and space, and perhaps ability. While he went on about how I should create without limits, I told him that without limits, creativity does not exist. It was an interesting conversation in that it helped me to clarify my thoughts on a topic I had not considered before. He asked what made me think my marble block was to be a figure? He chastised me a bit for being so narrow-minded in my vision. At some point he began a little speech for me, passionately telling me that I was too limiting with my stone. One night a kid (early 20s, I mean) hung out with me while I molded the clay.
But at night I worked on my clay maquette, hoping to stay ahead of myself. I carved the stone a little each day, noting that it took me about three days to lose enough of the fear of losing fingers or worse with a diamond blade (but not enough to be careless with such a powerful tool) to start being productive with that tool. Was not quite ready for, wanting to carve the idea for Against the Dying of the Light (which I created in bronze later) into a block of white marble. My first time at the MARBLE/marble Symposium in Marble, Colorado, in 2001, I was completely overwhelmed.
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