"The name Harry Bertoia is very attractive in the art-market because of the vast amount of energy that man put into fine and refined monoprints, jewelry, table-sculptures and monumental outdoor metal sculptures. In the beginning, it used to be Val Bertoia from Harry's and Brigitta Bertoia point of view. Now there's a balance to the trade. I spent 29 years learning about Harry Bertoia. He was like so many different people to me: a loving father providing more than I needed, a counselor in difficult times, a financial advisor, an employer allowing me free time after each vigorous workday during the 1970s. Society tends to put labels on people so that we can communicate feelings and thoughts verbally. In school days, this was a great advantage in getting through with excuses. In the art world, verbal communication becomes disappointing because it lacks so much of the deep expressive feelings that artists reveal otherwise. I began to understand my father, Harry Bertoia, by gaining a clear awareness of life's reality levels. For example, after making a phenomenal masterpiece in bronze, something that no one else in the world could possibly duplicate, Harry would say to the observer, "What do YOU think it is?" Harry would purposely not sign or title his artworks because they were part of the universe that God designed, and he would have little or no influence on another person's imagination. One cannot teach art, per se; we can only provide facilities, tools, and methods....."Val Bertoia
