Subject: Giganto
Sent: 1/27/98 10:28 PM

1. When did you make it?

I started the design phase when I started my senior year at Hartwick in the fall of 1987. The sculpture was my senior art project, which was the first and only opportunity to focus on any one idea for a longer period of time. I spent the entire Jan term working on it. It was time consuming because I was inventing the process as I went along. I had never made a big metal beast before and I didn't know anyone who had so I had to learn how to make organic forms with such non organic materials by trial and error.

2. How long did it take?

It took 5 months of metal work. I spent the entire January term of 1987 working on it. Everyone thought I was insane and would never be able to finish it but I did. Even my advisor, Terry Slade had his doubts the whole time. This was all consuming and I had to share workspace with the rest of the school. Everyone was happy when I was able to show it . It was installed in the 'sculpture garden' outside of the Gallery in Anderson for the Senior art show in the spring of 1987.

3. Why did you decide to make it?

"If you make it big and interesting it is an irresistible people attraction." My roommate at Hartwick was an Anthropology major and one day he showed me an article about Gigantopithecus and the moment I read the words "largest primate ever on earth" I knew I had to make a life-size sculpture of one. I arranged to build this project for my senior project, one of the most ambitious senior projects ever. The history and folklore around Yeti and Giganto made this project even more interesting. It is a blend of science and mythology, imperial and imaginative, organic and synthetic. It was an epic sculpture that consumed me for months and caused countless injuries but was all worth it. I made the sculpture to provoke its own folklore and history for people who pass through Hartwick, each with his own experience. I made it because it interested me and I knew it would be fun and work at all levels for the viewer.

4. Why did you sell it to Hartwick?

What else could I do with it? It would have cost a fortune to move and store. Actually I thought (and hoped) the college would want to have it there on the sculpture garden along with all that other large sculpture. I knew it would be seen by many people and it would gain its own notoriety locally. The fact that my alma mater has one of my works of art is very flattering.

5. How much did it cost to construct?

I don't really know. I bought all the steel at a discount from a company in Oneonta that made highway maintenance equipment at 5 cents per pound where in LA it costs me 45 cents per pound. The face is cast bronze and I think there was a couple hundred dollars worth of bronze. I consumed a small fortune in welding rods, electricity, gas, etc.

6. What does it symbolize to you?

It is a big metal beast. I like the idea of people being able to get close to it, touch it, walk around and feel the presence of such a large primate. If you have ever watched gorillas they are extremely strong. Just imagine a huge version of it looking at you. It is a good thin Homo Erectus was smart enough to make spears. They would not have stood a chance against Giganto. I could spout hours of what it could symbolize but instead I will leave it to the viewer to read into it or just enjoy it as a "big gorilla."

7. How does large pieces of artwork outside of campuses, buildings, ect... change or affect the building it stands outside of?

That is a good question that only can have a subjective answer. In a lot of cases it makes the structure more interesting or serves as a focus point for the architecture or entrances. Humans have a long history of ornamenting structures. Of course I see a lot of junk out there in front of buildings that someone calls art. At the same time there is a lot of incredible large sculpture in public. I assume the art in front of a building shows something about the building or the people in it. I see public sculpture as a 'highlight' or an 'accent' or possibly an 'eyesore.'

8. Have you ever heard of it being referred to as the "garaffalo"?

No but I bet there is an interesting story. This is what thrills me as an artist. To see a history and maybe culture develop on its own, with many experiences and memories for countless people is very gratifying.

9. Have you ever heard of frats putting diapers on it?

Yes. There were pranks like this with Giganto immediately. In a way I like to know people can have fun with the art. A lot of outdoor sculpture is not fun. Of course I knew that Giganto would be the target of attention in a lot of ways. Part of why it is suitable at a college campus is precisely because it is an irresistible temptation. I also believed it would be a well photographed backdrop for those attending or visiting Hartwick. I am always interested in hearing what people do with, around, or near Giganto. The sculpture is all about interaction.

10. How do you feel about the statue?

After Giganto was installed I had many opportunities to stand with others who trekked off the sidewalk to get a better look. I have spent time among them without anyone knowing that I created the sculpture and I listened and watched as they interacted with the beast. These are the moments that are the ultimate payoff for the artist. I never heard a bad word when I was there and I really learned a lot about people as I watched and listened. There is no plaque or sign with my name on or around the sculpture. I wanted to keep this anonymity to keep the focus on the art and not the artist.

I have met many people who have been to the campus since it was installed there and when I tell them I was the man who made "the big Gorilla" they seem to get a kick out of it. I have heard from a lot of people who make reports to me about it's condition because I have not seen the sculpture since the winter of 1987. I have seen a lot of people who have had their pictures taken with Giganto and they remember the moment at Hartwick forever because of this picture. All of these people associate the beast with fun and that is very uplifting.

I am also curious to see what happens with the sculpture in the long term. There will always be those who hate anything big and metal. There are and were people who don't think there should be ANY art in public. There are even people at Hartwick who fight the idea of sculpture in the sculpture garden! The steel will last a hundred years or more and it will outlast most of us alive today. I'm sure it will endure all the crazy people and the the things they do.

Giganto has helped me in may ways establish myself in art and (strangely enough) film and TV. I applied to the American Film Institute for Cinematography and had to show a portfolio to get it. The program was extremely competitive but I know that Gigantopithecus was what gave me the edge and helped me get accepted. During my interview I came prepared to talk about my films but the interviewer only wanted to know about Giganto. I would try to talk about my films but she kept interrupting asking "Yeah but what about this big metal beast?" She later told me that she accepted me because "anyone crazy enough to take on a creative project like that is crazy enough take on the Hollywood Film and Television industry.

You asked a lot of good questions but you missed the most asked question:

Is Giganto a male or female and why does it not have genitalia?

The answer is because if it did have genitalia, everyone would be focused on how large or small the largest primate should be. And I guarantee that if it had a penis it would not be on the campus of Hartwick. The fact that you did not ask about Giganto's genitalia shows that it was the right decision!

I always appreciate it when anyone is interested in my sculpture. The fact that so many people have contacted me verifies that the beast is still alive and well. I appreciate any stories or pictures. The folklore is part of the fun!

I am continuing to make big metal beasts. My current one is Deinonychus, the raptor featured in Jurassic Park. It has taken over five years to create.