Inside the Studio: Michael Alfano

Art Dealer Street
Sep 17
6 min read

Some sculptures invite a glance; Michael Alfano’s insist on a conversation. Trained in classical anatomy yet driven by big philosophical questions, Alfano fuses figurative realism with surreal shifts—faces that echo symbols, bodies that double as ideas. Across plazas and museums from Boston to Greece to India, his public works are designed to stop you in motion and then keep you still, pairing bronze and resin with lines from Taoist texts, poets, and scientists. That pairing matters: the quote opens a door, but the form does the talking. A longtime student of Buddhist practice, Alfano treats the studio like an engine for attention. He sculpts directly, letting clay suggest connections—a question mark becomes a profile; a dollar sign, a mask and a face. Works like Cubed invite you to lift and rearrange components, making the viewer a co-creator. Others, like Breakthrough and Awakening, hold quiet space for reflection. The result is a practice as accessible as it is ambitious: art you can walk around, touch, read, and ultimately think with.

Michael Alfano sculpting large clay face, detailing the eye with a tool. He wears glasses and a blue shirt. Background shows a window with greenery. — Michael Alfano in Studio

Read on to learn more in an exclusive interview with Michael Alfano :

1. Your work fuses figurative realism with surreal, philosophical elements. How do you balance the anatomical precision of traditional sculpture with the abstract, symbolic qualities that define your style?

I look for the synthesis in disparate forms and ideas. For instance, in my sculpture Big Money, I look for—and physically work at—designing the piece so the dollar sign can also form a realistic face in such a way that the two are inseparable. From a philosophical point of view, the sculpture asks: are we so tied to money and the things it buys, personally and as a society, that we can’t exist without it? Who are we without money? The sculpture also forms a big mask, speaking to both the interior and the exterior reality of our financial identities.

Abstract silver face sculpture outdoors on a stone path, surrounded by trees and a red barn in the background, under a cloudy sky. — **Big Money** *– Who are we without money?*

2. You’ve created numerous public sculptures across the U.S. and abroad—from Boston to Greece to India. What is it like to create art meant for civic spaces, and how do you approach the challenge of making it resonate across different cultures and communities?

I believe art is primarily about communication. Because it is largely visual and non–language-based, it can be felt and understood globally. Personally, I try to create large, iconic forms that are meaningful and accessible to everyday people. Using figurative imagery helps the artwork resonate because everyone can relate to the human experience.

Metal bucket pours yellow liquid sculpture forming a face, set against a cloudy sky and lush greenery. Artistic and serene mood. — **Liquid Sunshine** *— “Turn towards the sun and all shadows will fall behind you.” — Anonymous*

3. Many of your works are rooted in deep philosophical ideas and Eastern spirituality. How do Buddhist, Taoist, or Sufi principles shape your creative vision or process?

My Buddhist practice of chanting and study forms the foundation of my process. When you step away from the continual external noise, turn off the screens, and try to quiet the internal brain chatter—even just for a minute—the awareness you are left with is profound and is often the starting point of great art. The portrait heads I create seek to evoke that conscious presence we all have as humans and only become aware of when we are still. Making my sculptures large-scale and exhibiting them in public helps catch people off guard—perhaps stopping them for a moment to meditate on the art—and creates an oasis in the hubbub. I hope they stay awhile, think about the ideas I’m presenting, maybe read the philosophical quotes the sculptures are paired with, and think about life from different points of view.

Abstract silver sculpture of two faces in a lush garden, surrounded by green leaves and purple flowers, conveying a serene mood. — **Awakening** *— “Presence within presence, the gateway to all understanding.” — The Tao*

4. Your sculpture Breakthrough—a self-portrait—seems to explore personal transformation. Can you tell us about that piece and how self-exploration plays a role in your broader body of work?

Specifically, Breakthrough is about trying to break into the fine art world, which can sometimes feel like a hostile foreign country when you’re a young artist trying to “make it.” The quote from the Tao, “When I let go of what I am, I become what I might be,” speaks to this experience. As an artist you need to listen to and follow your inner voices, even though you’re not sure where they will take you. You also need to transform the work of the past to make new, fresh art. While it’s personal, the concept of this sculpture applies to anyone pursuing their passions.

Michael Alfano Sculpted face and hands emerge from a cracked white wall. The clay figure looks intense, with detailed features and a calm expression. — **Breakthrough** *— “When I let go of what I am, I become what I might be.” — The Tao*

5. In your process, you often sculpt directly rather than sketching first. What draws you to this hands-on, intuitive approach, and how does it help you access what you’ve described as a place “you’re in touch with but can’t define”?

When I am meditatively playing with formless clay, I can often make a connection between two completely dissimilar forms, such as a face and a question mark—as in Dream Manifesting—and magically things start to happen. It’s like trying to find a way to tap into the harmonies of the universe and get them to work for you.

Dream Manifesting — “Imagination should be used, not to escape reality, but to create it.” — Colin Wilson

6. Clio Art Fair has showcased your work in both its 18th and 19th editions. How has your experience been with Clio, and what value do you see in independent art platforms for mid- to late-career artists like yourself?

The power of platforms like Clio Art Fair for independent artists can’t be understated. I feel it’s a crucial experience for artists to get out of their studios and represent themselves, as a step to finding gallery representation and advancing their art career. Independent art fairs get you out in public, exhibiting your artwork, learning how to talk with people about it, and how to sell it.

Sculpted green face pouring from a paintbrush into a can, creating a surreal effect. No visible text, white background. — **Stroke of Genius** *— “Where things yet to be are seen.” — Alfano*

7. Your pieces like Cubed invite physical interaction, while others provoke reflection and dialogue. What role do you believe engagement—both physical and intellectual—plays in the viewer’s experience of sculpture?

I try to engage the public in my art in as many ways as possible and activate multiple senses. With Cubed, I created a sculpture that is not just interactive, but also participatory, where the audience takes an active part in making the art. Because the public can completely remake the artwork by lifting, moving, and rearranging the parts of the sculpture, they become co-creators and come away with a much more visceral experience. All the types of interactions provide different sorts of insights and experiences.

Sculpture of a human face, made of colorful square tiles, in a grassy area with a stone wall and white building under a clear blue sky. — **Cubed** *— “Who keeps seducing the formless into form … is always laughing.” — Hafez*

8. With a prolific career spanning decades and dozens of public commissions, what keeps you creatively motivated today? Are there new materials, themes, or collaborations you’re excited to explore next?

Even though I have been sculpting for almost three decades, I am as enthusiastic as ever to create new images and explore all the facets of art. It feels like there is so much more I would like to learn and create! Currently, I am working on ways to make my sculptures larger and more immersive, so the public can walk into and through the artwork to foster a more reflective experience. Another avenue has been working with Continuum Dance, a New England–based dance troupe, to present my sculpture Cubed in an interactive dance experience.

Michael Alfano adjusting large sculpture with face design, eyes prominent. He appears focused. Black and white setting; smooth, textured surface. — **Questioning Mind** *— “Never stop questioning.” — Einstein*

What lingers after time with Alfano’s work is not only the craft—the confident planes, the elegant silhouettes—but the afterimage of a question: Who are we when we drop our labels, our noise, our speed? His sculptures set the stage for that inquiry, moving between civic scale and personal address, between the seen structure and the inner voice the quotes awaken. In this interview, he traces the threads that bind his process: meditation and anatomy, public engagement and private inquiry, playful interaction and rigorous form. Looking ahead, he’s pushing further into immersion—works you step into, collaborations that braid sculpture with dance—always with the same aim: to create a pause that turns into perspective. If you meet one of his pieces on a street or in a gallery, take him up on the invitation. Slow down. Read the line. Let the form and the thought line up. The sculpture will hold its pose; the conversation it starts is yours to continue.

You can learn more about Michael Alfano and his work via these links: