Bio

Growing up in New York City, Richard David Sigmund’s earliest impulse towards art making had much to do with self-preservation. His personal sense of order was under siege and he made drawings to escape and keep his head clear. To this day, drawings are an essential part of his expression and process. They help simplify life and, by virtue of investment, they teach him to define form in a meaningful way.    

During hours of labor-intensive concentration Sigmund states that he feels most at peace and most in touch with a life force infinitely larger than his own. This sense of art as a meditative practice, a physical activity that focuses and then transforms energy is of great importance to him. Sigmund enjoys working with his hands and establishes a specific creative relationship with his materials.  

Sigmund’s process is reinforced through his life changing journeys throughout India. He is guided there by the overwhelming spiritual symbols and observation of the miraculous agreement that exists in the relationship between spirit, faith, hope and object. Despite the bustle of daily life in India, Sigmund finds the extraordinary harmony present in the imagery as well as in all his interactions. 

Pouring his attention into his graphite drawings and carefully designed sculptures, Sigmund’s profound hope is to initiate the transfer of positive energy from object to viewer. His belief that art is an act of generosity and hope generates a life force infinitely greater than the sum of its parts.