Some figures are part of history. Others define it. Viola Desmond is one of those figures. Her stand against racial segregation in Nova Scotia became a defining moment in Canadian civil rights. What began as an act of resistance, almost by accident, evolved into a story that reshaped national awareness. This bust was commissioned by Senator Wilfred Moore for the Buddy Daye Learning Institute and created posthumously in bronze. Beyond her role in civil rights history, Viola De

Wanda Robson was a woman of quiet impact and lasting influence. Best known as the sister of Viola Desmond, Wanda played a key role in bringing her sister’s story to national attention. Her efforts helped ensure that Viola’s stand against racism in Nova Scotia became recognized across Canada, ultimately leading to her being featured on the Canadian $10 bill. Wanda’s own story is just as remarkable. At 74, she graduated from Cape Breton University, becoming a symbol of persever

There is something timeless about the story of Niobe — a figure defined by pride, and ultimately, by devastating loss. In Greek mythology, Niobe’s hubris led her to challenge the gods, a moment of arrogance that resulted in the loss of her children and her transformation into stone, forever suspended in grief. This sculpture explores that exact moment — not in drama, but in restraint. Created from life with a live model, the work captures a deeply human gesture: arms crossing

This life-size bronze sculpture captures a quiet, introspective moment, rendered with remarkable sensitivity and technical precision. Sculpted from a live model, the work conveys a natural authenticity, where subtle shifts in expression and posture reveal a sense of calm reflection. The surface treatment is rich and expressive, combining smooth, luminous planes with organically textured elements that appear to emerge and dissolve along the shoulders and neckline. This contras

Maud is a study in presence, capturing the quiet weight and individuality of the animal form. Working in clay allows the character to emerge through observation rather than idealization. The form is not overly refined, it holds onto the immediacy of the process, where small shifts in gesture and posture begin to define personality. There is a sense of familiarity in the stance, something both grounded and attentive. The surface remains active, carrying the marks of making. I

CIRQUE UN is the first piece in the series, where the language of movement, balance, and form begins. At 1/4 scale, this maquette captures a single figure in motion, suspended between lift and release. The gesture is open and searching, less about control and more about discovery. It sets the tone for the series, introducing a sense of lightness against the physical weight of the material. The extension of the form, particularly through the arms and the flowing elements, sugg

CIRQUE DEUX is the second piece in the series, continuing the exploration of balance, movement, and the relationship between figures in space. At this stage, the dialogue becomes more focused. The interaction between the figures is more direct, relying on tension and counterbalance rather than symmetry. Each form depends on the other, creating a sense of instability that holds the composition together. Working at 1/4 scale in clay allows the structure to evolve naturally. The

CIRQUE TROIS is the third piece in an ongoing series exploring balance, rhythm, and the relationship between multiple figures in motion. At 1/4 scale, this maquette continues the dialogue established in the earlier works, but with a greater sense of complexity and interaction. The three figures are not isolated forms, they rely on one another, each movement affecting the next, creating a continuous flow of tension and release. Working in clay allows the process to remain visi

Created as a private commission and installed in Mexico, Temptation explores that delicate moment just before surrender, when instinct meets hesitation. The figure stands at the edge of the water, caught in a quiet dialogue between movement and pause. Her posture suggests both curiosity and restraint, as if she is drawn forward while still holding onto the present moment. The gesture is subtle, but charged with intention. The interaction with the environment is essential. Re

There’s a moment when the body no longer feels separate from its surroundings, when movement becomes instinct and form begins to respond to something unseen. Into the Woods comes from that space. This life size bronze explores the human figure in a state of transition, caught between grounding and release. The lifted leg and extended arms suggest both balance and surrender, as if the figure is responding to an internal rhythm rather than an external force. It is not a fixed