• Dory Brown
• Grace Cathey
• Robert Cole
• William Donnan
• Thomas Reardon & Kathleen Doyle (Sculpture)
• Jeff Fetty
• Jeff Hackney
• Phil Hathcock
• Tinka Jordy
• Gretchen Lothrop
• Richard Medlock
• Joseph Miller
• Carl Powell
• Bob Rhea
• Dale Rogers
• Eric Strauss
• Dave Taylor
• Francis Vega & Cricket Forge
• Lyman Whitaker
• Smith & York

Robert Cole

I have lived many lives as an artist. Originally, I studied architecture at Virginia Tech but then changed colleges and majors, first to theater then to painting. I started my sculpture career by building models for home furnishings and then began working on abstract and figurative pieces in polyester resin. I built and designed stringed instruments for twelve years and carved wood and stone. For the past ten years, I have been employing the direct metal technique which has proven to satisfy my need to work in a medium that can reach a large scale, survive in the outdoors, and be made entirely in my own studio by hand. I have many works in the D.C. area. I have been a part of the U Street "renaissance" having sold sculptures to restaurant and club owners, and I made furniture and functional sculpture for them, as well. Businesses and homeowners in my own neighborhood have purchased my work, and I have placed several large sculptures in parks around town. Along with two other sculptors, I started the first DC Sculpture Park (apart from the Smithsonian).

Materials and Techniques
Instead of casting bronze, I chose a direct metal technique, hammering metal into a desired shape and then welding it and grinding the seams. With this method one could practically create any shape with unlimited possibilities of size and complexity of form. The Statue of Liberty was made in this manner. The tools required, at the most basic level, are a welder; an acetylene-oxygen system, some hand tools like angle grinders, drills, die grinders and a suitable vented studio space. Once one is set up they can produce finished works of a permanent nature at a fraction of the cost of casting. It has always seemed to me that a fundamental requirement of art was the possibility to experiment without it costing too much since it is through the exploration that one clears away the fog to reveal the real illumination.

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