Forever is a turning point, a moment in my work where the sculpture no longer carries the weight of a base. After years of grounding each figure in bronze foundations, I longed to let them go, to let them stand in their own balance and grace. In this limited edition of twelve, Forever captures the quiet endurance of love and the courage to rise unbound. Each piece, hand finished in bronze, becomes a timeless ode to freedom, poise, and devotion a piece of art that stands just as surely as the spirit it represents.
Independence
This sculpture stands freely, embodying the elegance of self-support and the beauty of a form that finds its own balance and grace.
Timeless Endurance
Crafted to last for generations, this piece is a testament to enduring art that will remain timeless through the ages.
Display Your Way
Whether placed on a pedestal or left to stand alone, this sculpture offers the freedom to display it in the way that best suits your space and style.
The hands in clay, from fire to bronze casting two souls 'With One Breath.'
I am an artist driven by passion. I only sculpt to manifest ideas and emotions that have to do with a devotion to ecstasy and love. One of my favorite pastimes is to look at people or photos of people who are experiencing a human and soulful connection with another person. The sensuous world provides the artist with a vocabulary forged by the most common human experience … love.
In the piece “With One Breath" I wanted to create a balance of need, want, desire and rest. When we love another person with trust, there is a place where the two of you can go to let go of the world and be in your own private domain. This landscape of the love created between two people woven with trust and faith becomes the fortress to keep that love nourished. When you find yourself in this protected and alluring harbor it is almost as though you only have one heart, one breath.
Moondance represents love’s contrasting forces. A paradoxical experience of love’s gravity and levity. When I started to sketch this sculpture, my idea was to manifest the dance of affection and attachment through figures intertwined in a movement that choreographs the sublimity of shared human experience.
My hope is that Moondance can be a dialogue with the viewer of the dynamics of love, its capacity to anchor us to the most profound aspects of our being while simultaneously liberating us from earthly constraints. I wanted Moondance to embody the transparency and lightness of a genuine connection, illustrating the rise and fall of human emotions. This sculpture is my way of finding and trying to understand the intricate and transformative interactions of human connection – a nuanced, yet deeply passionate exploration into the dance of love.
Anais Nin wrote in her diary, “We travel, some of us forever, to seek other states, other lives, and other souls.” With my piece, ‘The Journey’ I realized that whenever we reach out to another person in an intimate way we are beginning a journey. It is an invitation to share our love our passion and our hope. We may even get lost with this person on our journey, but sometimes we find new paths of passion that would not have been discovered without getting lost. I have learned in loving that at times you just stand still with that person and that becomes the journey. To linger is to suggest that it is not the destination or some perfect place you are trying to arrive with your love, but the moment of realization that you are with that person you desire to spend time with. In this way your stillness becomes the direction of your affection.
I began making bronze sculpture and writing poetry as a way to reflect my own life's journey. There is always a correlation between my individual sculptures and my poetry.
"If you ask me what I came to do in this world, I, an artist, will answer you, I am here to live out loud."
I have never experienced sculpture and poetry as separate disciplines.They are two expressions of the same act of attention.
My sculptures begin as observations of the human condition, not as it is performed, but as it is lived. The quiet lean of one body toward another. The tension between longing and restraint. The moment where love steadies us or undoes us. I am less interested in spectacle than in recognition: the instant when someone sees themselves inside a form and feels understood without explanation.
Sculpture, for me, is a language of the body.Poetry is the same language, spoken inward.
When I sculpt, I am listening with my hands. Bronze carries memory. It holds weight, resistance, gravity, just as we do. The human figure becomes a site of inquiry: how we endure, how we reach, how we protect ourselves, how we surrender. The surface matters, but what lives beneath the surface matters more. What is unspoken. What is held.
My poetry often arrives after the sculpture, as if the work has loosened something that needs words. Other times, the poem comes first, a line, an image, a truth that insists on being felt before it can be seen. In those moments, the sculpture follows the poem like a body following breath. Each informs the other. Each sharpens the question.
There is a conversation constantly unfolding between these two forms.The sculpture teaches the poem about silence.The poem teaches the sculpture about vulnerability.
I think of my work, whether cast in bronze or written in lines, as acts of witnessing. To love is to witness. To create is to witness. To stand still long enough for the moment to speak.
I am drawn to themes of devotion, resilience, sensuality, and the unguarded spaces between people. The human condition is not abstract to me, it is intimate. It lives in posture, in proximity, in the way two figures can hold an entire history without narrative. My figures are often grounded, rooted to the earth, because love is not an idea, it is something we carry in our bodies.
Over time, I have come to understand that my sculptures are poems that refuse to speak, and my poems are sculptures that refuse to stand still. They exist in a shared field of meaning, each one asking the same essential questions:
How do we live inside love?How do we survive longing?What does it mean to remain open in a world that asks us to close?
The image accompanying this piece captures me as I am most often found, observing, listening, inhabiting the space between thought and form. It is there, in that in-between, where my work lives.
Art, for me, is not about answers.It is about staying with the questionand allowing it to take shape.
Gesso CocteauSculptor & Poet
In the language of clay, love is never still,it keeps forming us, endlessly, into Forever.
Forever
(for the Viking)
In the beginning, there was only clay and breath,the quiet surrender between two forms learning how to be one.Every curve, every reach, remembers touch,not the touch that ends, but the kind that begins againeach time one heart leans toward another.
I call this Forever because it carries the weight of love that has no edge,no border between body and spirit, giver and receiver.It is the moment before bronze,when the pulse of creation is still visible,alive beneath the fingertips that shaped it.
Here, they stand,not as man and woman, not even as figures,but as the echo of devotion itself.A reminder that love is never still;it keeps forming us, over and over,until we recognize ourselvesin the arms of another.
— Gesso Cocteau
This is Forever in the foundry completed in clay and before the mold is made. I will post the piece when it is completed in Bronze.
