my name is Gary weisman and I make classical bronze sculptures They're very traditional The Greeks are a very big influence and also the Italian Renaissance is a very big influence I don't tend to look and what's going on around me, I tend to look back in terms of influences historically.

We travel to Italy, oh, maybe once a year for about three weeks and we draw extensively non-stop, nine hours a day I fill sketchbooks.

The influences are used in the poses I do here my main energies are gonna be on the classical nude.

And I think there's as far as public collections go museums, outdoor situations the nude is way blocked in this country.

you see a lot of them in euro although I don't know how contemporary I've been doing some cantelivered life size pieces because its is really mixed.

you know the possibilities of architecturally, what can a bronze structurally do So, they'll completely hover horizontally with no supports.

What I'm working on now are female crucifixes and I don't really know why The pieces have become a lot more narrative now so that's kind of exciting.

I'm sorry they're so tortured right now.

you have to listen to these things.

you know, you're listening to a drawing as it's happening, you listen to a sculpture as it's happening I'm working on an empowered kind of pieces which are based on Greek heroes with weapons.

It's kinda tricky business.

It's very stressful I started doing this in the mid-seventies.

when I do the pours, I'll pour 1500 to 2000 pounds in a day or so.

during a pour I have my ex-students come up from the Pennsylvania Academy in Philadelphia.

there's an experiential rapport that I have with the metal Would I do these things if they didn't sell?

yeah I would I think it's critical to always stay for me in a place at not knowing.

I don't know, and finding an experiential connection to it through some form of non-intellectual sensation that will hold my intensity and focus.

We're writing this story, I don't have a finite, fixed ending it's an evolution