After 3 years back in NYC full time, I was seriously in debt and trying to find a way to move away from sculptures that could be interpreted as mainly formal or abstract. I wanted to find way to attack minimalism and its economically privileged formal hierarchy which 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, less is definitely more. The Broke dancer 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 and attempted to be a full-time artist. At one point my answering machine was just recordings of debt collectors calling and mispronouncing my last name. The nice thing was my friends found out and started leaving funny messages as well. This recording was made into a CD to be played on the boom box next to The Broke dancer. The sculpture was my first figurative sculpture since undergrad and the form was all my uniforms from working part-time dipped in resin to create the figure spinning on his head, which I did competitively when I was a young man. I had a portable piece of waxed cardboard to do head spins on. The pedestal or base of this work is tilted and has different currencies glued to it, but mostly guilder from Holland that was now rendered worthless in NYC.