After 3 years back in NYC full time, I was seriously in debt and trying to find a way to move away from sculptures interpreted as mainly formal or abstract by my audience.  I was searching for a way to attack minimalism and its economically privileged formal hierarchy of reduction which in my opinion, most of New York sculpture comes out of historically, because of its inherit relationship to real estate and power.  The more reductive, the more expensive, and removing the totemic figure seemed to be its creed, I felt less is definitely less.   The Brokedancer was born out of my need to sell my labor to fund my art, and the gap of resources I began to notice once I quit working part-time jobs, and attempted to be a full-time artist.  At one point my answering machine was just a series of recordings from a plethora of debt collectors calling and mispronouncing my last name, B A T L L E, pronounced Battle.  The nice thing was my friends found out and started leaving funny messages as well along with the collectors.  This recording was made into a CD and played on the boom box next to The Brokedancer.   This sculpture was my first figurative sculpture since undergrad and the form was created from all my uniforms 0f working part-time that I dipped in resin to create the figure spinning on his head, which I did competitively when I was a young man in Arizona.  I had a portable piece of waxed cardboard to do head spins on as a ten year old boy.   The pedestal or base of this work is tilted and has different currencies glued to it, but mostly guilder (gold penny) from Holland that was now rendered worthless in NYC.