I have always been fascinated with trees, even as a young boy growing up in Baltimore’s inner city which ironically had no trees, that is, until my mother persuaded the city to actually plant a tree in front of our row house. The tree stood alone in a 3’ by 3’opened square of earth in an otherwise vast dessert of concrete. This young eight-foot tree was my personal oasis, but protecting it soon became my mission. My grandfather and I built a steel cage fortress around the trunk to stop the onslaught of ignorance that often left what few branches, it had, bent or snapped. The summer when I moved away to Florida, I remember saying goodbye as its green canopy shaded me from the hot afternoon sun. Moving to Florida at ten was when I first truly experienced nature in all its freedom, splendor and color. I would save my allowance so I could plant in my yard almost every fruit tree known. As youth faded and adulthood took precedent I still planted trees and plants at every address I had.

My interest in literature, science, ecology, spirituality, and art all had some connection to trees. Titles like “The Giving Tree”, “Celestine Prophecies” and the movie “Avatar” had helped to further shape my own philosophies and art as well. For more then 20 years I created a significant body of artwork depicting a variety of plants and flowers rendered as large-scale aluminum sculptures along with two series of landscape painting that featured aspen trees and the trees of Tuscany. My exploration of sculptural imagery and technique had led me to master the workings of every medium except wood, until now. I likened this fact to a similar logic that I do not eat duck because I had them as pets for many years. This personal choice is only that and is not meant to lead into a political platform suggesting we all become tree hugging vegetarians. However, as intelligent and supposed evolved inhabitants of earth, we should at least be aware of what the current science facts reveal about our history of arrogance and our tendencies for extreme inhumane and wasteful practices towards animals, the planet and ultimately our selves. As a cohesive planetary force we are finally making amends and striving to be more humane, environmentally responsible and appreciative towards nature.

I have often felt guilty about the fact that millions of Christmas trees were killed every year for a ritual that I too look forward to, but somewhere along the way I began to see that it isn’t about hypocrisy or extreme activism of either side, it’s about balance, appreciation of all things and the sobering realization that all things are impermanent but cyclical. I see this message manifesting itself globally in the collective consciousness of the planet in many forms and often in ways that cannot be refuted any longer. This realization need not be thought of as negative, in fact, I see it more as a wake up call for opportunity rather then a fire alarm of impending doom, and a time for change rather then cataclysm.

I was taught that for art to become relevant and timeless it must reflect the time the artist is living in. For almost a quarter century, I have produced artwork that has in one way or another mirrored the overall mindset of my immediate culture. Beginning with the “shock me” art of the vibrantly colorized ego circus that was the eighties, to the “now what” nineties when we finally began to notice earth tones and self awareness instead of self importance, to the 21st century, where Y2K uncertainty and 9-11 vulnerability has escalated into a fear-based nation politically divided, at economic crossroads, and again at war. Thru all this hardship we as a nation and people are for the most part hopeful and diligent in our vision for a better world at peace, but to get there will require awareness and significant change. As an artist I want to communicate this awareness as well as the personal challenges I am experiencing at this place and time.

For the past five years, the subject and theme of my sculpture has been a toned down version of Pop-Symbolism in which images of religion, philosophy, nature and the folly of man were manifested made entirely from synthetic materials. This art formula I developed was very theatrical and so direct that it would dominate its surroundings with its message. This had led to some of my most successful and rewarding artworks I have ever created. However, I felt there was an element missing of an “earthful connection” that I wanted to instill within these powerful and timely themes.

One day I realized that I was speaking entirely on behalf of nature. I had thought about the irony when I had painstakingly hand sculpted two miniature Oak trees made entirely from man-made materials. I then thought, perhaps I should just say my part of the story and let Mother Nature speak for herself. In this new partnership, nature would be my medium from which I could illustrate the form and she would provide the feeling. This melding of man and nature now infuses my art with the “earthful connection” that speaks so clearly and true of itself that I feel I am no longer the sole creator of it. This most majestic ambassador of nature is of course the tree and the medium of wood. From the tree of life and knowledge to the provider of our food, shelter, fire, and air we breathe, the tree has been the most giving of all earth’s life forms.

The species of tree I chose to create from and with, is the Oak, specifically the Florida live oak, as it is commonly known. Unlike the other mediums I have mastered like clay, stone, bronze, steel aluminum, fiberglass, cement, glass and urethane, I quickly realized this medium was very different. I could not master this very special material by telling it what it would become, so instead, I surrendered to it and simply let it tell me what it was and how it would like to be seen. It was no longer about changing a mass of material into some recognizable object but instead was about celebrating the medium itself by revealing how the wood chooses to express itself as some thing other then its self and at the same time apart of its self. That is why 30 to 50% of the bark and original tree shape is preserved. The grains, the twists, knots, curves and even the flaws all become what colors are to a painter. Rather then simply replicating an object in full 3D as it has been rendered by countless artist thru the ages, I find it far more challenging, engaging and original to not only capture the subject in the act of freeing itself from the wood but also finding spiritual harmony and the visual balance of man’s iconic creations juxtaposed the timeless and graceful embodiment of nature.

The first step of my process is often the most difficult, as in affairs of the heart; the hardest part is often finding that perfect one that meets all you needs. Finding healthy whole oak logs that haven’t been already spliced for firewood and are free of parasites, mold and fractures is a job in itself. I make it even more difficult because I will never be one to kill a tree for my own artistic endeavors so it has to have fallen naturally or been harvested for other reasons. Once I have a whole log section I then use a 14” chainsaw to remove damaged areas and ruff cut out the basic composition to accentuate how and how much of the subject image will be revealed. The next steps vary depending on how much precision detail and symmetry I feel is needed for the idea. Objects like the grill of a ‘59 Cadillac require extreme precision that can only be achieved with digital measuring devices that enable me to index each cut I make so I can accurate follow my own blueprint of geometric patterns. This process requires a completely manually operated and hand guided track router I designed just for this application. The next steps include a host of smaller hand held tools previously used for metalworking adapted for woodworking. These include angle grinders, sonic cutters and sanders, electric and pneumatic chisels and a dremel with a variety rasps and ball nose router bits. I also use the old fashion hammer and chisel and hand files. When all the carving and sanding is complete it becomes a shaped blank canvas where the accenting of grains and layers to achieve contrast is the final step. Even though I use a color range of stains they all are a hue of brown. It is almost like painting a black and white photograph in that you have to create interesting and varied hues that can only be derived from a minute spectrum of brown tones.

Oak is famous for its hardness and density, which is due to its high water and resin content. This characteristic also causes splits minor cracks to form on outer edges while the moisture content is being released. To avoid this, oak lumber used for furniture or high stress load building materials is debarked and cut to long stackable beams then kiln dried in ovens to 212 degrees Fahrenheit to quickly force out its moisture which then shrinks the wood and makes it even stronger. Another method is natural drying where the wood is covered outside to dry slowly for about a year. Often much of the oak I find has dried out naturally and does not develop any splitting at all. I also use “green wood” or wood from tree that have been cut down recently. This fresh wood will create some wonderful minor splits and cracks for about a week or two after it has been cut or worked on. I personally find these splits to be aesthetically and symbolically necessary to better portray and convey themes about time and impermanence.

More importantly, this organic dehydrating at the cellular level, reminds you that this section of wood came from something that was alive once and, based on average oak tree lifespan, was a home to thousands of birds and animal and could have actually been around to provide shade for civil war soldiers. In addition, this amazing organism could breathe in carbon dioxide and exhale oxygen, take in water and nutrients, convert sunlight into energy, reproduce and unlike any other art medium or widely used material we have come to depend on, it has to die so that we may use it. Having more then 500 different species of Oak inhabit almost every continent and being the longest and oldest living life form on earth (13,000 years), this extremely versatile species has earned a most amazing list of uses. Symbolically, Oak has always been synonymous with strength, endurance, and steadfastness in the face of adversity. It is because of these defining attributes, that I can think of no other medium more deserving to embody and symbolize mankind’s unlimited potential and unwavering commitment to survival.

Though well-known as a sculptor, David Langley has also returned to his roots as a painter. He brings his formidable experience to bear in these works, which are created on aluminum with automotive paints and processes. From the side of his paintings you can see the numerous layers built up to achieve the deep translucence characteristic of this work.

His aluminum sculptures are designed, cut, formed, welded and painted by hand. Whether for inside or outdoors, his finishes are specially formulated to withstand Florida's harsh sun and weather conditions. The base of the larger sculptures can be mounted outside in a permanent location or they can remain as is in an indoor setting.

Though having fun experimenting in various three-dimensional directions, David won't be abandoning his works with metals any time soon.

David Langley's sculpture can be viewed in a number of public spaces: in Palm Beach, Sarasota, Delray Beach, West Palm Beach, Manalapan, in the Miami International Commerce Center, on the waterway in Ft. Lauderdale, in the flagship Marriott World Center in Orlando, at Florida Atlantic University in Boca Raton, Florida Atlantic Honors University in Jupiter, as well as the Sandals Resort in St. Lucia, shipboard on the Royal Carribbean Cruise Line, and in numerous private collections.

David Langley was recently honored by the City of Sarasota, on the Gulf Coast of Florida. His life-sized horse sculpture -- Mr. Red, you can guess the color -- was chosen to be one of only five public sculptures to be placed in the historic downtown area. Hundreds of sculptors competed for this honor.

Education
-- Florida Atlantic University, Boca Raton, Florida, 1987. Bachelor of Fine Arts, Major: Art (emphasis sculpture), Minor: Pre-Medicine.
-- Palm Beach Junior College, Lake Worth, Florida, 1985. Associate of Arts, Major: Pre-Medicine.

Extended Studies
-- Montoya Art Studies, West Palm Beach, Florida, 1988
-- Norton School of Art, West Palm Beach, Florida, 1979

Related Experience
-- Palm Beach Junior College, Lake Worth, Florida. Bronze Caster.
-- Lake Worth Playhouse, Lake Worth, Florida. Set Designer.

One and Two Person Shows
Karen Lynne Gallery,Boca Raton,Fl. 2003-2008
Frankel Gallery, Palm Beach, Florida
Rosard’s Gallery, Palm Beach, Florida
Studio E Gallery, Jupiter, Florida
Horizons Country Club, West Palm Beach, Florida
Coral Springs Library, Coral Springs, Florida

Group Juried Exhibitions
2009 Leather and Chrome Show, Deland Museum of Florida Art
2007-2008 Societe Nationale des Beaux Arts, The Louvre,Paris, France
2005 Palm Beach 111,Palm Beach
2004 Art Miami,Miami, Fl.
2003 ART Form,Palm Beach,Fl.1993
ACC Show.Baltimore, MD.
ACLU 2nd Annual Art Exhibition, Brevard County, FL
1993 Invitational Alumni Exhibition, Ritter Gallery, Fla. Atlantic Univ., Boca Raton, FL
1992 Annual So. Fla. Artists, Invitational, Margulies Taplan Gallery, Boca Raton, Fla.
1992 13th International Conference on the Fantastic in the Arts, Ft. Lauderdale, FL
1991 33rd Hortt Show, Ft. Lauderdale Museum of Art, Ft. Lauderdale, FL
1990 32nd Hortt Show, Ft. Lauderdale Museum of Art, Ft. Lauderdale, FL
1986 Ritter Gallery, Florida Atlantic University, Boca Raton, Florida
1986 Broward Art Guild Gallery, Ft. Lauderdale, Florida
1985 Broward Art Guild Gallery, Ft. Lauderdale, Florida

Gallery Presentation
Coda Gallery, New York, NY
Studio E Gallery,Palm Beach Gardens,Florida
Elaine Baker Gallery, Boca Raton, FL
The Art Collector, San Diego, CA
Hodgell Gallery, Sarasota, FL
Profile Gallery, Jupiter, FL
Artcetera Gallery, Delray Beach, FL
Imago Gallery, Palm Springs, FL
Art Works Gallery, Bal Harbor, FL
Steiner Gallery, Bal Harbor, FL
Apropos Gallery, F. Lauderdale, FL
Raleigh Gallery, (DCOTA) Dania, FL
Gallery of the Eccentric, Coral Gables, FL
Special Effects Gallery, Chicago, IL
Patrician Gallery, West Palm Beach, FL
Frankel Gallery, Palm Beach, FL
Rosard’s Gallery, Palm Beach, FL
Agra Gallery, Palm Beach, FL
Studio E Gallery,Palm Beach Gardens,Fl.

Honors
1987 Dean’s List, Florida Atlantic University, Boca Raton, FL
1986 Judges Recognition, Broward Art Guild, Ft. Lauderdale, FL
1985 President’s Honor List, Florida Atlantic University, Boca Raton, FL
1984 Community College Scholar Award, Palm Beach Jr College, Lake Worth, FL
1983 Phi Theta Kappa, Palm Beach Junior College, Lake Worth, FL
1982 Doctors Hospital Auxiliary Scholarship Award, Lake Worth, FL
1982 National Honors Society, Palm Beach Junior College, Lake Worth, FL
1980 Brotherhood/Americanism Award

ART IN STATE BUILDING COMMISSIONS
2009 Lake Park Regional Park continuation Public Art Commission
2008 City of Fort Pierce,Fl.
2000 City of Sarasota,Downtown Main Street Beautification Project
1995 Olive Elementry School, West Palm Beach.Fl.
1993 Phipps Park, West Palm Beach, Fl.
1990 City of Delray Beach,Fl .Pineapple Grove Way

Public and Commercial Commissions
2009 Robert Graham Clothing Corporation,New York
2004 Florida Atlantic University,Palm Beach Gardens Campus
2003 Knoxville Fitness Gymn, Knoxville, Tn.
2002 Atrium, Marriott World Center, Orlando, FL
Fathoms Restraunt,Palm Beach Gardens,Fl.
Outreach Incorporated, Pompano Beach,Fl.
2001 Tails, Ft.Lauderdale,Fl.
2000 Tropic Island Grill Restaurant,Deerfield Beach,Fl.
Florida Atlantic University,Boca Raton Campus
1999 Pine View School Osprey County,Sarasota,Fl.l
1998 Royal Caribbean Cruise Lines, Miami ,Fl.
1197 Labor World Inc.,Boca Raton,Fl.



1994 Sandals Resort, St. Lucia
1993 Phipps Park, West Palm Beach, FL
1992 Miami International Commerce Center, FL
1991 Miami International Commerce Center, FL
1991 Adam Walsh Foundation, Palm Beach, FL
1991 Absolute Vodka, Carillon Importers, LTD, NJ
1990 City of Delray Beach, Pineapple Grove Way, FL
1990 Embassy Suites Hotels, Singer Island, FL
1989 Realtek Industries, Beachwood, Ohio
1988 Ambassador Condominium, Palm Beach, FL
1988 Carlyle House Condominium, Palm Beach, FL
1987 Ambassador Condominium, Palm Beach, FL
1986 Florida Atlantic University, Boca Raton, FL

Selected and Private Collections
Mr and Mrs Kramer,Palm Beach Gardens,Fl.
Mr. Nal Bandian.Palm Beach Gardens,Fl.
Mr. and Mrs. Richard and Jane Stoker, Ft. Lauderdale, FL
Mr. and Mrs. Dave and Elaine Darwin, West Palm Beach, FL
Dr. and Mrs. LeRoy Clark, Tarzana, CA
Mr. and Mrs. Zachary Fisher, Time Life Corporation, New York
Mr. and Mrs. Harry Gantz, Sanford, CT
Mr. Craig Geyer, Chicago, Illinois
Mr. and Mrs. Robert Risman, Shaker Heights, Ohio and Palm Beach, FL
Mr. and Mrs. Alan Gottlieb, Palm Beach, FL
Mr. and Mrs. Gary Pollard, Oakland, CA
Mr. and Mrs. John Gilbert, NJ
Mr. Bruce Jacobs, Spring Valley, NY
Mr. and Mrs. Wolf, Memphis, TN
Mr. and Mrs. Richard Stoher, Bal Harbor, FL
Mr. Vincent Motrela and Mr. Ariel Sans, Manalapan, FL

Media Coverage
2006 Palm Beach Magazine
2001 Sarasota Times1993 Channel 12 News (2)
2000 Herald Tribune, June 20,p.27
1999 Shiny Sheet,Palm Beach
1993 The Palm Beach Post, July 14, p. 38
1992 Southside News and Views, June, p.2
1992 Eastsider, September 25, p. 20
1991 Eastsider, September 11, Cover, p. 4 and p. 22
1991 XS, September 18. p. 20
1991 Museum of Art Newsletter, Fall Issue, p. 2
1990 Palm Beach Society Magazine, March 19, p. 39
1990 The Palm Beach Post, January 14, p. 18
1989 The Miami Herald, December 24, p. 18
1988 Directions Magazine, March, p. 4
1987 The Forum, January 8, p. 14C