Operating on the outer fringes of the Hudson Wiley-Geis circle was Don Potts (b.1936), who began making sculpture in the early sixties. Potts worked with black encaustic in
1964, modeling wall plaques and then massive freestanding sculpture with a distinctive hide-like surface.
The following year he became involved with laminated wood and made a series of large, meticulously-crafted pieces in wood and fur, all of which are graphically sexual, generating a kind of bawdy humor but at the same time achieving a sensual beauty of a high order (figure 21). An analogous combination of delicate sensuality and forcefulness governs the project Potts worked on for more than two years—a full-scale dragster chassis, nominally functional, but created principally as an illusion of speed and power (Figure 22)