>> A LOT OF ARTISTS, THEY DO IT MECHANICALLY, TRY TO MAKE IT LOOK JUST LIKE THE PERSON.

I WANT TO IT FEEL LIKE THE PERSON.

WHEN I TOUCHED CLAY, IT WAS SO TACTILE, AND IT GAVE ME A MEANS TO EXPRESS HUMAN EMOTION.

I ALWAYS CARED A LOT ABOUT AND TRIED TO INTUIT PEOPLE'S FEELINGS, AND WHAT THEY HAD BEEN THROUGH AND TO INSTILL A PIECE WITH THOSE EMOTIONS.

I SCULPT BECAUSE OF HUMAN EMOTION, AND THAT'S WHAT I TRY TO CONVEY.

GROWING UP, I DIDN'T KNOW ANYTHING ABOUT SCULPTURE.

MY DAD WENT TO THE TENTH GRADE.

HIS DAD, MY GRANDPA WENT TO THE SECOND GRADE, SO INTELLECTUAL CURIOSITY, NEVER HEARD OF IT.

>> I BECAME A MILK MAN LIKE MY DAD.

IN MY FIRST LIFE I STARTED THAT PIZZA CHAIN AND PUT JOINT VENTURES TOGETHER IN CHINA, JAPAN.

I WENT TO INDIA.

FOR A POOR COUNTRY BOY, THAT PIZZA BUSINESS WAS A WAY TO ELEVATE MY SOCIAL STATION.

BUT IT DIDN'T FEED MY SOUL.

CALIFORNIA UNIVERSITY OF PENNSYLVANIA.

MY BUDDIES WERE ALL PROFESSORS THERE.

I BUILT A CORPORATE HEADQUARTERS AND I BOUGHT ALL ORIGINAL ART.

SOME OF IT'S ON THE WALLS HERE.

I MET THE ARTISTS.

AND STARTED HANGING OUT WITH THEM.

AND I REALIZED THAT WE WERE SYMPATICOS.

WE WERE ALIKE.

I HAD BEEN CHARACTERIZED IN THE PRESS OFTEN AS A CREATIVE ENTREPRENEUR.

I DON'T KNOW.

I JUST WAS WHAT I WAS.

BUT I DIDN'T REALIZE THAT I HAD THAT CREATIVE ENERGY AND GENE AND A PASSION FOR CREATING.

THE FIRST TIME I TOUCHED CLAY, I HAD DISCOVERED THE MISTRESS I HAD TRAVELLED THE WORLD IN SEARCH OF.

I LEFT ZANESVILLE THE WEEK I TURNED 18, NEVER THINKING I'D BE BACK HERE.

WELL, I FOUND THIS BUILDING FOR $50,000, AND WHEN I WALKED IN, I FELT LIKE I WAS IN SOHO.

IT WAS PERFECT.

SO, I SAID, I'M MOVING TO ZANESVILLE.

STARTED MY BRONZE FOUNDRY HERE.

I WAS DRIVING BACK AND FORTH EVERY MONTH OR TWO.

ALL OF MY FAMILY HAD MOVED BACK TO ZANESVILLE.

I'M GLAD I CAME BACK.

THE PACE OF LIVING IS SLOWER.

PEOPLE ARE FRIENDLIER.

CHEAPER.

AND I HAVE THE PERFECT WORK SPACE.

I HAVE A THEORY THAT, IN READING BIOGRAPHIES OF GREAT ARTISTS, A PERSON CAN ONLY EVER PUT AS MUCH PASSION INTO A PIECE AS THEY HAVE THEMSELVES.

IT'S RARE TO BE ABLE TO ACHIEVE THAT, BUT THAT'S THE MOST YOU CAN PUT IN.

HAVING WORKED THROUGH A LOT OF PAIN IN CHILDHOOD AND YOUNG ADULTHOOD, I LOVED TO PUT SOME OF THAT IN.

I WILL DO THAT INSTINCTIVELY, SO SOMETIMES I HAVE TO RATCHET THAT BACK.

BUT IT HELPS A LOT WITH MY COAL MINER STATUES, WITH MY MILITARY STATUES.

ANYBODY THAT'S BEEN TO WAR AND SEEN THE THINGS THAT THEY'VE SEEN.

IF YOU SEE PHOTOGRAPHS OF THEM, YOU CAN JUST SEE THAT PAIN ETCHED IN THEIR FACE, THE STUFF THEY'VE SEEN.

MY PAINTING BUDDIES WOULD ASK, OKAY, YOU CAN SAVE ONE PAINTING IF THERE'S A FIRE.

WHAT ONE DO YOU SAVE?

WELL, MINE WOULD HAVE TO BE MY WIFE AND MY TOMBSTONES BEHIND ME, BECAUSE IT'S A TRIBUTE TO HER.

SHE'S A DAD GONE ANGEL, AND IT'S A TRIBUTE IN THE BROADER SENSE TO LONG LASTING LOVE.

AND I STUDY A LOT THE SCIENCE OF HUMAN PAIR BONDING.

YOU HAVE TO BE INCREDIBLY FORTUNATE TO HAVE THE KIND OF PAIR BONDING THAT SHE AND I HAVE.

A WHOLE BUNCH OF BIG BRONZE STATUES AROUND THE COUNTRY.

PEOPLE WILL LOOK AT IT 200 OR 300 YEARS FROM NOW, AND REALLY CONNECT WITH ONE, AND THEN LOOK DOWN AND SEE MY NAME IN BRONZE -- A COTTRILL, WHATEVER DATE, AND SAY, WOW, THAT GUY DID THAT 200, 300 YEARS AGO.

IT'S STILL HERE.

I'M DUST.

IT'S STILL THERE.

SO THAT'S WHAT I HOPE.

I CAN'T WAIT TO GET INTO WORK.

I WORK SEVEN DAYS A WEEK.

NOT AS MANY HOURS AS I USED TO, BUT I DON'T WANT TO LEAVE HERE, MAN.

LIKE COMING IN MAKING LOVE ALL DAY LONG.

IT'S PRETTY GOOD STUFF.