• About Dr Perry

  • About Dr Perry

  • Bio

    Board Certification

    American Board of Facial Plastic and Reconstructive Surgery

    American Board of Otolaryngology

    Education

    B.A. Biology, Brown University, 1975-1979

    Rhode Island School of Design, 1975-1979

    M.D. Brown University, 1979-1983

    Medical Societies

    Fellow, American Academy of Cosmetic Surgery

    Fellow, American Society of Cosmetic Breast Surgery

    Fellow, American Liposuction Society

    Fellow, American Academy of Facial Plastic and Reconstructive Surgery California Society of Cosmetic Surgery

    Former Faculty Appointments

    Assistant Clinical Professor, State University of New York at Buffalo Director, Facial Plastic Surgery Clinic, State University New York at Buffalo

    Assistant Clinical Professor,Tufts University School of Medicine

    Art Society Memberships

    National Sculpture Society

    International Sculpture Center

  • Teaching Medical Students Sculpture

  • Almost 15 years ago I started teaching medical students basic principles used in sculpture. In the course I emphasize how to truly see and not just look. I show them how to analyze proportion, contours and gesture to increase their diagnostic skills in all clinical fields. I use their  sculptures as a type of feedback so they can began to appreciate what they visually assimilate and what they missed.

    The adjacent photo is from a session in 2011. The following article and its accompanying photo are from 2004.

  • Practicing the ‘art’ of medicine

    The ‘Art and Medicine’ course ‘was designed to give students a chance to explore the roles of art and art-making in the practice of medicine, to enhance their observation and communication skills – and to encourage them to become creative, sensitive physicians.’

    by Mary Jo Curtis

    Most medical students learn to observe the human body in a clinical or surgical setting; they often hone their skills studying organisms under a microscope. The students in the “Art and Medicine” course, however, have exchanged their medical labs and clinics for an artist’s studio.

    Lecturer Curtis Perry, M.D., standing far left, instructs medical students in the basics of sculpture
    Lecturer Curtis Perry, M.D., standing far left, instructs medical students in the basics of sculpture

    On a recent afternoon in the List Art Center, some 15 first-year medical students surrounded a nude model as guest lecturer Curtis Perry, M.D., instructed them in the basics of sculpture. Perry has been sculpting since childhood, initially working in snow before moving on to more sophisticated mediums, such as bronze. As a physician, Perry is also an artist; he’s a plastic surgeon with a large cosmetic practice.

    “Fat injection is really sculpting; liposuction is body contouring,” he said as he explained the concepts of proportion and contouring to the students. “I love doing fat injections and nasal surgery, because you really can sculpt.”

  • White House

    In 2006 Dr. Perry created a sculpture based on a theme of one of his bronze sculptures to represent Rhode Island at the White House. The solid silver work depicts a young girl about to pick up a seashell.

  • Dr Perry Discusses Creating His Sculpture

    Part of sculpture’s appeal to me is that it exists in our three dimensional world. Because sculpture possesses actual volume and space, the viewer naturally relates to its image differently than if the image was a two dimensional illusion of form and space.
    I feel that the figure is a timeless theme in sculpture due to the variety of ways can be interpreted. The figure can be a pure statement of forms and surface. It can also be a reference to an individual possessing thought and emotions. The figure provides an endless opportunity to comment on the human condition.
    For the figure studies, I try to create pieces with a sensitivity and sensuality. The child sculptures were inspired by my own family. My hope is that they will evoke memories and emotions, that while different than the figure studies, are universal in their own right.

  • Bronze Sculptures Created by Curtis Perry MD

  • Brenda: Bronze, 25 inches high, Limited edition of 8

    Sculptor: Curtis Perry MD

  • Tamara: Bronze, 51 inches long Limited edition of 8

    Sculptor: Curtis Perry MD

  • Seaside Discovery: Bronze, 12.5 inches high Limited edition of 18

    Sculptor: Curtis Perry MD

  • Castle Builder: Bronze, 19.5 inches high Limited edition of 18

    Sculptor: Curtis Perry MD

  • How is a Bronze Sculpture Created?

    Adjacent Photo- Curtis Perry MD puts the finishing touches on the clay original that will become come a bronze sculpture. His son, then age 4, poses in the background.

    I am often asked by people who have just finished looking at my sculptures, how a bronze sculpture is made. The answer is a multi-step process that traces back to ancient civilizations while employing the latest in manufacturing technologies.

    The Original Sculpture- A bronze sculpture never begins in bronze. Typically the original sculpture is first made from clay, although any material that can be molded or carved can be used.

    The Master Sculpture- From this original piece a mold is made. Into this mold a material, usually plaster, that will be harder and more durable is poured. This second sculpture is referred to as the “master”. Often some final fine details are added on the master.

    The Wax Sculpture- A new mold is then made from the master which is called the “working mold”. Once the working mold hardens, wax is then poured into it. When the wax cools it is removed. The new wax sculpture then has wax tubing or “gating” attached to it so that the molten bronze can flow evenly to all areas and gases can escaped. The wax sculpture and attached gating is then coated or “invested” in ceramic or plaster material. Once the “investment” hardens, the wax is then melted or “burned out” of the investing material leaving a hollow cavity “negative” of the sculpture and its gating. Because the wax sculptured is gone or “lost” the process is referred to as the “lost wax” technique.

    Finally the Bronze Sculpture- Molten bronze is poured into the hollow cavity that once held the wax and gating. Once the bronze has cooled, the investment is cleaned off the bronze and the gating is removed. Any final surface texturing such as polishing is then performed. Removing the gating and any final texture work is referred to as “chasing”. Finally, dyes or chemicals are applied to create the desired surface color(s). The when the chemicals chosen chemically react with the metal the final surface is referred to as the “patina”.

    Some Final Thoughts- The lost wax technique was used by the ancient Greeks and Romans to create all their bronze sculptures. The ancient Chinese also used sand mold technologies but that’s a whole other story. Ceramic investment or “Ceramic Shell” is a modern technology that is also used in precision manufacturing of objects such as jet engine parts. The process is actually far more detailed than what I described above. For instance only the smallest sculptures are cast solid and in one piece. Stable cores must be designed to to keep the walls of the sculpture an even thickness and the multiple pieces must be carefully separated and keyed so the when they are reattached the final sculpture appears seamless.