Student Days 1956-1965

The need to understand the structure of the world through the study of the figure motivated Kaminsky's earliest study. Kaminsky sees the human figure is a microcosmic view of greater forces.

The Young Sculptor Speaks about his Environment 1965-1969

Growing up in New York City and feeling the pressures and power of the mass Kaminsky discusses these kinds of powers in his abstract work based on the figure. Masses of figures and solitary individuals are often juxtaposed.

The Sculptor looks at the Landscape 1969-1971

A long car trip through the desert states in 1969 opened Kaminsky's eyes to the power of the landscape as sculpture. These sculptures were made by modeling the sky in modeling clay then filling in the plaster land.

Migration to the Ozarks in 1971 brings a chance to make art away from the "gallery system" and still be a part of a vital community.

Small forms discovered in molding sand like the landscapes above only this time pouring metal and putting the sculpture to "use" as wearable art.

Reconnecting with the Figure, Portraiture 1984-the present

Skill at portrait sculpture was one of the products of Kaminsky's academic training. He was called to this service in the Ozark Mountain community in which he lives. His portrait busts and Mantelpiece portraits are enjoyed in more than 800 homes and institutions.