RADAR 3 Publication Date: December 3, 2002 Collecting All the sculpture I make is configured from collected material: fallout from urban decay, industrial residue, and domestic throwaways. My preference is for materials rather than objects, but the sweetness comes when they overlap. A few years ago when desktop computers were replacing so much office paraphernalia, a friend called to inform me that an office in his area had just put out more than a dozen IBM typewriters. That afternoon I hauled the collection into my studio. The typewriters had to be initiated—cleaned and disassembled. Later that year the parts, in conjunction with found wood and stamped metal, would emerge as a series of ritual pieces dubbed Homage to the Typing Pool. One of these pieces is now installed in the conference room at Seton Hall Law school in New Jersey. As a full-time artist, having my work collected is not only a delightful boost to my psyche but a crucial ingredient for my continued survival. My work is collected by individuals as well as public and private institutions, museums, libraries, universities, and the like. Larger transactions are usually initiated through dealers or other representatives, and occasionally through competition, but my studios have always been open to visitors and a surprising number of collectors come right to the source. Roy Crosse