So…natural landscape not only influences my work as an artist, but often become the artwork itself. Sometimes it surfaces through a romanticized version, such as my recent “20,000 Leagues Under the Sea” illustration series, where the sea and the submarine become the landscape. I find the concept of human-made technology inserted into the natural world to be endlessly inspiring because it can be interpreted as either a good marriage of forces, or a bad one, depending on the artist’s and the viewer’s points of view. How far do we engineer our world, and how far do we preserve nature in its raw state? How do we humans balance our needs for survival with those of naturally occurring species?
I was asked, recently, how nature influences my artwork. My observations, over many years, along with my rolling around out in the open landscapes of this country, seems to seep into and then pour out of my subconscious as I make art. Those realities show up in the textures and colors of my sculptured surfaces and even in the way I process materials in both my three dimensional as well as two dimensional art forms. The layering of media, whether graphite or plaster modeling, is not unlike the geological layering of natures landscape forms. I sometimes refer to the figures I create as “vertical landscapes” for this reason. If an observer casts their eyes close up and across the metal surfaces of my sculptures, they take on the look of a landscape; not unlike the canyons and hillsides of the many places I have trekked.
Since Saturday is my birthday and I just finished (except for a few touches) a new piece, I thought it high time I blogged about life and art making again. I don’t have a title for this one yet, mainly because, although it is a finished sculpture in its own right, the idea is for a much larger outdoor installation. Whether I will get the chance to create that big piece through a commission, remains to be seen, but I am certainly happy to propose it to anyone who might be interested. I would like to see this sculpture made at about a 20-25 foot tall size and sited outdoors in a space that allows it room to breathe. Life in general is good. My wife, Ann, has new adventures developing in her work world, as do I, and the on-going struggle to protect the Amon Creek Natural Preserve continues. (Check out the Tapteal Greenway web site for the latest on that.)
Boy, howdy! How does one concentrate on creative work in a world gone mad? The more I investigate or get involved with politics, locally or nationally, the crazier my brain gets. So, it comes down to focusing on a few of these social concerns that I can have some impact on, and then absorb the rest, in order to protect my creative head space. I have to choose my battles, and allow that interaction to feed the creative process for art making. Another piece of the “craziness” is observing the rapid deterioration of my 94 year old mother. If art comes from life, the question I am grappling with is how do the issues of aging play into my art? We’ll see.
Sometimes people forget that, along with all our more freely expressive works of art, artists also create more utilitarian pieces. Right now, I am working on a steel outdoor arbor for some clients. The finished piece will be situated over their existing outdoor deck and have wisteria growing all over it. This should create a more enjoyable space for them and their friends to socialize around (and under) as well as helping to cool the house by establishing a shaded area on a currently very exposed side of the building. The challenge, among others, is to prefabricate all the metal components and then bolt them together on the site and have everything fit! Retrofitting like this is always interesting. Onward!
Sometimes it’s a good thing to reflect on some older works that I have created to learn new or review past experiential lessons. Such was the other day, as I reviewed some digital images of art I made while living in Bellingham, Washington around 1979. I was working on a series of “spirit catcher” forms that were inspired from ancient Native American artifacts I viewed through museum collections. The abstract concept of capturing some sense of the natural environment and the emotions it evoked in me was very inspiring, not only at that time in my life, and still does. Although, I would approach this same subject matter differently today, the basic concept remains the same. I think I’ll play around with that for a while, and see where I go with my ideas.
While my mind is percolating on new ideas for both sculpture and drawings, I am rebuilding an older piece, originally entitled “The News!” The concept has been going through numerous changes in my mind and on paper for a while, ever since I created the bronze and copper original about 11 years ago. This sketch piece was never really finished, so the current reworking makes perfect sense in the evolution of a concept originally intended as a large scale public art piece. I’m toying with a title which better describes the new configuration of the figure and other elements. It has to do with the history of human communication. As soon as I get the sculpture sand blasted, I’ll patina it and then it will be “finished,” although, I would still like to see it done on a larger scale. Pictures will be forth coming.
I am often asked whether or not I am successful as an artist. In almost all cases, whoever is asking wants to know if I have gained fame and fortune in my career as an artist. As a matter of fact, I have had some “fortune and glory,” along the way. “Success,” for me means that I have successfully completed a given project and have succeeded in whatever artistic experimentation I was after when I started. I have certainly had my share of monetary famine through the years, and have had to rely on other skills to pay the bills, but, with all of that, I am still experimenting in the studio, completing commissions, exhibiting and selling my work. I don’t make art because I want to. I make art because I have to. It is an addiction and a passion, and not a hobby.
I often speak of the “universal” and the more “personal” in my art-making. What I mean by this is: ideas that are reminders of our collective humanity,or those big concepts that make us “human” are universal, and those experiences that come directly from my own life or my interpretation of them are personal. I like to combine the two as I work out the design of a piece. A lot of this conceptualizing occurs in sketch form before I commit clay or bronze to it, but much of this interplay unfolds during the actual physical processes of building the sculpture or finished drawing. My bronzes are as much about fabrication as they are about casting, and much of the design work occurs as I determine the final assembly of various component parts of the sculpture. This dynamic helps to keep the work fresh and constantly changing right up to completion.