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Artist Spotlight

Artisit Spotlight - Dave Haslett

smYESTERDAY_BEGINS_TOMORROW Dave_on_Orcas "Yesterday Begins Tomorrow"

Now there’s a title for you!It makes a statement and then answers its own implied question. Hopefully that gets you to think – to stop and look at the sculpture. Not an easy thing to pull off in a public setting. This extremely hard stone, with what I hope is some strong artistic merit, did stop people and make them ask questions on installation day. There is something about being in the presence of the sculpture, as opposed to a photo, that has such good energy. This piece is done in human scale because

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Artist Spotlight - Tamara Buchanan

This is an interview with Tamara Buchanan which took place on May 12, 1996 at her studio/home in Kirkland, Washington.

She has been a NWSSA board member since 1994. Over a period of twenty years, she developed the Sweetbriar Wholesale Nursery in Kirkland, which she owns and operates with her husband Doug Benoliel. She recently spent a month carving marble in Carrara, Italy.

We started with a tour of her studio, which consists of an indoor workshop filled with a variety of stones, tools, and her new heavy duty compressor. Tamara was excited about the compressor and all that it could do! In fact, it was important enough to deserve .3 name--she called it Curtis. We hugged it in appreciation! Then we moved on to her carving area outside where we began our conversation with a question about a sculpture in progress.

Steve Sandry:Tell me about your process with this piece.

Tamara Buchanan: I had an idea for a very large sculpture. I was in love with a concept, and I was trying to bring that idea to the stone. But the stone dido't want to be that. I occasionally look at it, touch it, feel it and ask what it wants to be. So far it's being very stubborn, and that's ok.

 

SS: Has that happened before?

TB: The most magical tinae was one of my first pieces, a piece of translucent Greek Alabaster. I was going to make a bird with outstretched wings, so I could shine light through it--I would have this airy ethereal bird. I was carving away, but the next day, it was screaming at me that it wanted to be something rounded. I went with it. It became the Nautilus piece "Solitude", which really pleases me. I'm allowing myself the tinae and the grace to listen. Doesn't happen frequently, but those times are magic!

 

SS: Do you ever use a more rational planning and executing process?

TB: With the large linaestone figure it was close to that process. I started whacking away and realized I should decide what I wanted to do here. So, .I went back, got photos to work from and did a couple of models Although, I'm not a truly planning type person, the inspiration came from a lovely art photograph.

 

SS: How did you feel about that process?

TB: I feel ok with it. I do fmd I lose some spontaneity working with a model. It's fun when the flow is happeuing. That's great!

 

My first experience with carving was at the first symposium in 1987. George Pratt was there and got me started on a piece of limestone. And Lee Gass gave me a piece of Mexican onyx which was my first hard stone. He started me on his diamond tools. So, I skipped the business of soapstone. I like something I can hit and it won't shatter. Granite and marble are marvelous stones for me. get joy from both of them.

 

SS: What is it about the resistance the harder stones give you that is appealing?

TB: The Italians call marble "bones of the earth". It feels grounded, solid, earthy. They are not so brittle or tender that they would shatter if hit the wrong way. It disturbs me to be working with alabaster and be so coucerned with bruising it.

 

I find I'm carving faster. I started pushing in that direction last summer--not worrying or stewing so much, but letting energies come through. I used that approach in Italy. I had just a month to work there and wanted to get as much started as I could. I was roughing out about a piece and a half per week. That felt really good--to think and work, but also to not think and work. To let the stoue, tools and my hands have communication-- that's where I think I'm headed. I worked daily 8:00 to 5:00, and found I could physically do it. I learned a lot about myself: what I can handle, what I can do. I learned patience aud trust.

 

SS: What was the studio like in Italy?

TB: It was a pop and son type operation-- mostly custom work or reproductions of their own models. It was small, intimate. It's mostly a teaching studio now. They move stone with pry bar and roller. Most of the carving is done with air tools.

 

SS: How did the student-teacher relationship work?

TB: It was Silvereo's studio. He was there to give whatever instruction I wanted. Most of the tinae he would ask if I needed help. A few tinaes he insisted I learn to sharpen tools.

 

SS: Why did you go sculpt in Italy?

TB: I knew that I had to go. I wasn't sure why. In retrospect it was to learn patience and to learn to trust in my work with stone and also in geueral in my life. Perhaps I may have found my next mentor: an elderly sculptor, Enzo Pasquinni. I felt he wanted to share his knowledge aud expertise. I'd like to go back in 1997 to work in his studio. I think there are some things he can teach me about art, stone, and maybe about life.

 

I think mentors are very important. That's another good thing about the Association. It can provide access to mentors that you can't fmd in the studio by yourself. George Pratt has always been my mentor along the way. I missed hina at the last symposium, for my yearly "how am I doing, George?"

 

I discovered while working in Italy that many of the artists, famous Of unknown, come there for some of the same reasons we go to the Symposium. Italy was the only place they could go to fmd the comradery and support, both technical and emotional. There was a man from Vancouver Island, B.C. who didn't know there was a support system available to him locally. Sometimes we don't realize we have something so special.

 

SS: How did you know to enter a mentaring process?

TB: Because it was available. And I so badly wanted to sculpt. I knew that this is what I should be doing. I came into it at a time when I was facing my own mortality from a cancer scare. I'd also had some losses of siguificant people in my life aud my dog of nineteen years who was like my son. Many things, all at once, came crashing down. What I turned to was the stone. It is very grounding. I love being dusty; I love to touch the stone-smooth, rough, chisel marks, all of it.

 

I have a very stable life now. I have someone in Doug who believes in me and accepts me for the prickly person I can be sometimes. He's been incredibly supportive. It's taken major setbacks in my physical and emotional health for me to realize "I can try this". And then I stumbled into The Artist's Way by Julia Cammeron. Very synchronous. I don't think it was meant to happen sooner. Maybe I had to go through the garbage fIrst.

 

SS: It souuds like things are coming together for you.

TB: I am so blessed. I have a peace now that I've never felt. Doug has encouraged me to take my time and not worry about selling. Enjoy doing the art; when the time, comes it will sell.

 

SS: As a woman, do you see your approach to art as unique?

TB: I don't personally feel my approach to art is any different because of my sex; but it may have been seen differently because of my sex. When I started working with granite, the guys would go off to talk granite, and I would be excluded. That still happens. It's hard to be taken seriously if you dou't create more than three or four pieces a year, but that's not a gender thing.

 

SS: (We view her most recent piece "A Simple Twist" situated in an adjacent garden. It is her first completed piece from her Italian adveuture.) How is this piece different for you?

TB: This piece represeuts a shift for me. It's simple in content, nothing fussy about it, and it's not representational. I enjoyed playing with it. It's a movement of lines and contrasts. What I fmd lately is that I can't finish anything. "A Simple Twist" was finished and then not finished. I found that during final polishing, part of me wanted to take the piece further, cut in there deeper, etc. So, it never ends. The limestone piece "Emerging" is a large bud shape with two petals in a semi-open position around the bud. I really want to change that piece. It's technically finished, but I had a vision that the cone is supposed to be a face, pointing upward. I can't wait to recarve it.

SS: So, you have a way of staying in process with your pieces?

TB: This is new for me. I am trusting that it can be fmished or not finished and be ok. The process can continue. Not rushing, having patience. Before I had an orientation of haviug to finish and getting it sold, which was self-imposed. That's changed.

 

SS: What was your early experience with art?

TB: Here's a drawing story: I was asked to leave the department at WWSU because I didn't have any talent: so much for beiug an art major. The Artist's Way helped me out of that horror story.

 

I did have a wonderful high school sculpture instructor, John Pilikowsky. I got a lot of encouragement and felt some success in his class. He handed me a rock at the end of school and said "I think you can do something with this. ". I took it home and thought about that rock for the next twenty years. At that point I found out about the 1987 Symposium, which was the first one. I've been to all the Symposia since, and still playiug with rocks.

 

SS: When did you become a board member? And how has that been for you?

TB: The first time was 1994. I felt I had skills that could be used by the Association. It's a lot of work, time and emotioual commitment. I also appreciate getting to know the Board members.

 

It's fun to watch the Association grow and change. Having been on other major boards of directors, I have strong feelings about what the Board is supposed to be doing. Our job is to manage the business of the Association. We now use a budget, we have an accountant, we have a way of managing the records, and we've obtained non-profit status. Now we can proceed with a project--like creating a sculpture center. We're getting art more and more sophisticated.

NWSSA is really driven by its members. It's important for the membership to understand and remember that. Membership comments and input is what moves the Board in a direction. We welcome hearing about the concerns of the membership.

 

One new project I'm interested in is the possible development of a sculpture center at the former Sandpoint Naval Airstation. It will need energy and talent to develop, and we've got it. For instance, we'll need help grant writing and fund raising.

 

SS: What do you mean by "pushing the stoue"?

TB: It goes back to "when are you finished?" .... wanting to express more feeling and depth.

 

For instance, you guide and move the light to convey emotion. I have always worked with lights, darks and shadows. Now I want to work with lights and lights! Allowing light to come through a piece, not just through the stone itself, but through some piercings in the stone. Also, you polish different parts to differeut levels. The light hits the various areas in differeut ways and you're able to control how the eye moves over the piece. The light and the stone together are the sculpture.

SS: Are you selling pieces?

TB: I sell at our nursery to landscape architects and contractors. I sold eight or nine small works at the open house show. I believe in George Pratt's approach. You start people out as collectors by selling small "coffee table pieces". Then they're your collector. They're more confident, and they start buying more important works. That's happening for me.

 

SS: What is your advice for other artists?

TB: Read The Artist's Way. Surround yourself with people as supportive as my husband. Keep a sense of humor. Have fun!

Artist Spotlight - Tracy Powell March/Apr 1996

This is an interview with sculptor Tracy Powell, which took place at his studio in Anacortes, WA on March 5, 1996. Tracy has been a NWSSA member since 1992 and an active carver since 1980. He recently was elected to the Association's board and will be a carving instructor at the summer symposium. He contributes in many ways as a kind, joyous and supportive person, and by example, as an active creator. His stone sculpture is currently being shown at Gallery Mack, Seattle, WA.

Stephen Sandry: We start by looking at one of Tracy's works, a standing figure with her face buried in hands. The figure is approximately 42" tall in marble, entitled "Sorrow".)

 

Tracy Powell: This image came to me the day that Yitzhak Rabin got killed. The television news showed a woman sobbing into her hands. That's the human condition! I walked into the shop and saw this block of marble which had been sitting here for a year, and the idea for the piece popped right out. On the carving bench, the figure read as full size. But when I put it down on the floor, I saw "this is a girl". The image was transformed, and her whole story was different. So, my thoughts were to combine that figure with a life-size mother-type figure, perhaps with her hand reaching out to the child. (Tracy has been considering this work for an open competition for an art purchase by Harborview Hospital, Seattle W A. The general theme for the commission is healing.)

 

SS: Certainly sorrow and grief fit well with the healing theme, being precursors to deep healing.

TP: Maybe just by herself, she could be useful as a healing instrument. I think that's a really important function of art: to touch that vulnerable part of somebody else without hurting them. Saying it's okay to do this (cry, feel sorrow); not to force anybody to cry, but just to say it's okay.

 

Technically its not very good at all. The proportions are bad, and I should have tried harder for the drapery. But, it works. Here's another piece, "Cloud Swimmer", in marble. This boulder was in a stream in Eastern Washington. In the creek it glowed, and sparkled.

 

SS: Where did you find the idea for "Cloud Swimmer"?

TP: From the rock, but it took a while to figure out. At first I tried too hard. There's no distinguishing shape to the stone, and I was trying too hard to find some shape. Until I realized, it's just a cloud, with little pieces of the swimmer peeking out. That's all you have to do, fmd a face here, a knee there, and let the rest go.

 

SS: This area, the Skagit Valley, seems to be an inspiring place to be, a place for artists to get inspiration.

TP: There are powerful primal forces that come together here. The Skagit River and Puget Sound come together, and Mt. Erie is the remnant of an old volcano. It's the basalt plug--all that's left of the old volcano after it eroded away. You've got the mountains, the river, and the forest to remind you of the primal elements.

 

SS: I'd like to talk about your history, particularly about your path as an artist. Where are you on that path?

TP: I'm in kindergarten!

 

SS: What do you mean? You've been seriously carving in wood and stone for about fifteen years. You've done lots of work. The work shows competence and confidence. You are producing regularly. How are you still in kindergarten? You've obviously learned enough to make a statement.

TP: No, not really. I feel that I'm getting closer, though. I think I'm still working on craft. The" statements" come later. I'm learning the "voice" now. I'm still learning the technical aspects: how do you hold the tool, how hard do you ~rike with the hammer, those kinds of things. And the material--what can you do to it without hurting it. How do you get it to do what you want it to do.

 

And it's understanding the forms. I've been playing with this one now for the last couple years. It's a leaf, and it's a flame, and it's a wing. It comes up to a point, and I see this everywhere. I'm constantly playing with that, redrawing the same form, hoping to understand it and learn what it's talking about. Other forms are the figures. I'm learning more about that and enjoying that a lot more.

 

SS: Perhaps you stay vital if you are a leamer, a student of anything you are attempting.

TP: There are things I think an artist should say. There is some sort of purpose to our work. But to express these ideas can be difficult. In writing a great poem, you've got to know your language so well that the words just spill out of your mouth. Robert Bums, or Bob Dylan ... although we may not have seen it, there was probably a great learning process for them to go through.

 

The skills have to become second-nature. It has to do with elegance. This I learned from a math teacher who sought elegant solutions to complex math problems. When you tear away all the bullshit, there is an elegance in the universe which we are striving to glimpse. For him the way to do it was "farout" math. He was right. Whenever you glimpse something like that, it's a big AH HA! 1 think you learn and then you unlearn.

 

SS: How long have you been actively carving?

TP: Since we moved to the Skagit Valley in 1980. Prior to that 1 had been working for the city of Everett Parks Dept. and playing a bit with art. That time was mostly devoted to work and family. I was hanging on to a little (artistic) thread that I knew was in the background and that I would get back to later. Prior to family life, I was bumming around, living on the streets--being inspired by Jack Kerouak! I painted pictures on people' s walls, ceilings, sheets, blankets.

 

SS: What led you to carving?

TP: I had enjoyed whittling as a Boy Scout. Later I was introduced to Indian art. I found the Northwest Indian art to be very exciting: masks, totem poles, and cultural paraphernalia. I started playing with copying some of those forms, as a hobby. My job with the parks led me into management, giving orders to thirty people, which I hated. It drove me berserk. That's why we moved to the Skagit valley. My head was ready to separate from the rest of me. My artist spirit was pretty well smothered. It felt like moving here was the only place I could survive. It seemed like a life-or-death matter. I worked with my brothers here at boat building and odd jobs. Eventually, I started my woodcarving business, doing signs for boats and businesses. 1 worked at another parks job, but kept the carving going.

 

I carved a large cedar resnrrection figure ("The Burning Christ") for a church in Anacortes (4'xlO'). I worked for the Samish tribe and spent a year carving the "The Maiden of Deception Pass (24'h x 5' dia.) sited at Deception Pass. I then did cnltural preservation work for the tribe, cataloguing artifacts. I wrote a book on woodcarving in Co-Salish sty Ie (Handbook For Carvers: The Samish School of Co-Salish Woodcarving), this was about the local Native style (Vancouver Island to Oregon) which hadn't been written about. And I taught classes in this carving style. Working with the tribe, I saw how connected they were to the past cultural heritage. Things were still alive that had been going on for countless generations connected to this area. Going through that process as a voyeur made me want to find out where we came from, to get connected to that past. This has taken me to studying Welsh, Irish, Scottish history, and back into Celtic history. I'm looking for a Druid (the shaman class of Celtic and Iberian society) to talk to. There's written material dating to 500a.d. telling stories that were old then. These feel important to me, as if I can almost understand them. Some of the symbols I'm interested in come from this period.

 

SS: One of the things I'm interested in are the ideas and work that come through us unselfconsciousIy: ideas that flow from the universe beyond our limited selves. It appears like your work flows for you.

TP: I'm striving for that. As I said before, one thing I've been struggling with lately is abstract versus figurative work. All the abstract things that I do are basically two dimensional, they have two separate sides. In figure work it's three dimensional, every angle is a different picture of it. When working with a figure, it just comes naturally to work in 360 degrees and it's truly three dimensional. Bul. I haven't found that facility with abstract forms. I call them two and one half dimensional. more of a picture than a sculpture. I'm an admirer of Rodin. And one of his rules was that the sculpture had to be perfect all the way around, including from top and bottom views. That was a complete sculpture if it had that trueness. That's tough!

 

The other thing is a concept. Bill Holm and Bill Reid discussed in their book on Indian art, an idea called "emergent line". It is not a line that you draw, but a line that happens when you carry one plane in one direction, and you bring another plane up to it. Wherever they meet, that line emerges. Those kinds of lines have a certain grace to them. Those lines result from true three dimensional activity. You don't draw them in; they happen. That's a wonderful thing. They come out the cleanest and with grace. I think that's where I'm trying to go. Because you didn't force these lines to happen, yon allowed them, they've really got a presence. Maybe that's the "elegance", those things that happen "behind your back".

SS: What are your favorite stones to work with?

TP: The oolitic limestone. I enjoy all the stones, but limestone is by far the most fun.

 

SS: What qualities do you like about it?

TP: It doesn't get bright. It's very uniform in color. It makes nice shadow. In the stones with more color and pattern, they fight with the sculptural form. The other thing is that I do it all with hand tools. With a good point you can move this limestone fast. With the harder stone you have to hold the image in mind for so long. It takes much more time to get to where the figure is. It can turn around on you before you get there!

 

SS.: What is your source of inspiration?

TP: Life, The Force. Trying to interpret or describe that. One way to say it is that it's all religious art--it's Life. I want to describe it and tell how beautiful it is. There's a great joy in doing it. It's sensual as well as intellectual. That's why the hand carving in soft stone is so much fun. You can get intimate with the material and the image.

 

SS: With the flame/leaf/wing image, do you know why it is important to you?

TP: No, I don't. It just seems to be important. There are many natural objects that have that form to them. There are man-made symbols, like the yin-yang and the infinity symbol. It's primal. If I make enough variations on that, I might stumble upon an answer. There's a secret in there.

 

SS: Is it important to you to have your work shown, seen by others?

TP: It wouldn't have much function, if it was just for me. It's a lot of fun to do, but I don't particularly get off on looking at them when they're done. If someone else responds to it, then its complete.

 

SS: Perhaps that's the whole "conversation".

TP: If it doesn't go beyond you, what's the point? That's where fme art is different than spoken or written language. It's not very precise. It's more solid and tangible than other communication, but more up to individual interpretation. You're not saying one thing. You're saying a lot of things. The object becomes something else in the eyes of each person that looks at it. This can also change over time as perspectives change.

 

SS: Do you have a story in mind while working on a piece, particularly the figurative work'?

TP: Yes. When I'm carving a figure, I imagine a whole scene that it's in. The other figures, the scenery. the sounds and the smells. It's got a whole little world. But, the stone figure is all I can pluck out of that scene. That's why I may get back to painting again, to show the whole scene. That's part of the conversation with the piece. Over the time it takes to create a piece, that inner story or background may change several times. This may cause me to change the idea I started with originally.

 

SS: What is your work pattern?

TP: I squeeze studio time in amongst the other things I have to do. I'm always working on half a dozen images, but I try to do only one piece at a lime, all the way through.

 

SS: Where are you going with your art?

TP: I want to get better. I want my pieces to say what they need to say. Elegance, that's what I'm after: something like clearing the pool table with one shot. Start with a rock; hit it once and have a perfect sculpture emerge. That would be an elegant act!

SS: How are you involved with N.W.S.S.A.?

TP: I've been a member since '92 and was recently elected to a position on the Board of Directors. I've received so much from this group: technical skill and inspiration, guidance, support and love. I want to give a little bit back, to keep the wheel spinning.

 

SS: What is your vision for the group?

TP: I think it would be nice to have a permanent home, a place that was equipped for what we want it to do. It would be good to have a big studio somewhere that we could all use. The idea of a sculpture center at Sandpoint in Seattle (formerly the Naval Air Station) is a wonderful dream. I love that! It is supposed to be a dedicated art environment. Our group is on the list to be part of it, although it will take a long time before it is sorted out.

 

SS: Well Tracy, have you got any parting comments?

TP: Most human activity is either pointless or worse, except art. I think it's the only thing worth doing.

 

SS: Many thanks, Tracy, for all your contributions.

Artist Spotlight - Sandra Bilawich

The following is an interview with sculptor Sandra Bilawich, of Victoria, B.C., which took place in late December, 1995. Sandra is a regular contributor to the workings of the NWSSA Summer Symposium. She most recently coordinated, along with Daniel Cline, the Vancouver Island Stone Sculptors Symposium. She is one of those inwardly solid people who seem to live with clarity and purpose. In the last few years, she has focused that clarity on the creation of her sculpture as a full time occupation. Our discussion began while looking through her portfolio.

Steve Sandry: Tell me about the first sculpture, "Risk".

Sandra Bilawich: I returned from my second symposium in 1993 wilb a strong desire to try sculpting a human torso. I was feeling lbe need to take more risks wilb life and. by extension, my sculpting. I tried to think of all lbe tbings lbat "risk" meant to me as I worked. I selected Italian alabaster because it is soft, translucent and bruises like skin. Decisions involving risk usually involve running around the waist and up lbrough lbe right breast. This could represent a vulnerability or even scars left from life experiences. The overall figure is strong. with a twist at the waist, suggesting flexibility in dealing wilb life' s changes. The figure IS kneeling to indicate humility .

 

SS: So, was this a metaphoric piece about your getting into sculpture full-time?

SB: I guess it is. I had been sculpting full-time for a year. The very first day I spent sculpting at my first Stone Sculptors Symposium, in 1992, I felt tired but exhilarated, knowing I was looking forward to doing it more. It was lbe first time I'd done anytbing !bat had "ands" attached to it, instead of "buts". Then it became a matter of figuring out how to make it happen.

 

SS: How much sculpture had you done prior to 1992?

SB: None. During lbe summer of 1992. I met George Pratt selling his stone sculptures at Granville Island Market in Vancouver. He mentioned an upcoming stone sculpting symposium at Camp Brolberhood. I was working for one of lbe airlines at lbe time, as a technician. On an impulse, I booked my holidays and decided to give it a try. My first day. Myrna Orsini showed me how to hold a hannner and chisel. Everyone I met had so much to share, so open and tactile. It was an incredible experience. and I left feeling like I had found a new family. It reminds you, when you are working alone, how important olber people are.

 

SS: Do you tend to work long periods alone?

SB: Yes and no. The act of sculpting involves a lot of time alone in the workshop--in isolation. The finished product. lbe sculpture, provokes a reaction and is a form of communication and connection. Communication, interaction and play give me a source of inspiration and feedback which is very important. too. I need to have a balance between lbe isolation and the socialization. Both element,> are important, and help me to learn and grow as a person and as a sculptor.

 

SS: When you're working on a piece, are you thinking about communicating with people?

SB: Yes. but it is equally important to communicate with the stone, too. I remember once making a maquette for a sculpture lbat I wanted to do. I picked out a stone and began chipping away. Large pieces began to drop off in the wrong areas. I must have looked frustrated, because someone came up and asked me what was wrong. I remember saying, "The stone isn't listening to me. It isn't doing what I want it to." As I listened to myself. I realized I was trying to force my ideas on lbe piece. I had not taken the time to listen and find out what was in the stone. It occurred to me that I would never have tried lbat approach wilb a person. So, after lbat I began approaching my work with more awareness. From the beginning I now see lbere have been layers of "fog" !bat have lifted like little veils. And I'm allowed to see tbings with more clarity each time. The stone and the process of sculpting are therapeutic, like an extended course in communication. If you can communicate with a stone, you can certainly communicate with a person.

 

SS: As you work in lbe creating process. how do you stay in touch wilb lbe end product which will do lbe communicating?

SB: It changes as I go. Each piece is like a relationship. It grows and evolves as you put energy into it. You can't really define it beforehand. If I'm working on a commission, I try to think about lbe person for whom it is intended. Some of my ideas for sculpture come from stories. I think of a single image that will encompass the important elements of that story. As I work on it, each piece evolves--the ftnished sculpture is never exactly what I first envisioned.

SS: Tell me about your process of making sculpture.

SB: I'm a multi-task person. I like to have four or five things on the go, in order to feel good. T get a clear idea of what I think I want to do, then I start it. Then I start something else. I repeat this process about four times. Once I have all the pieces started, it moves along very quickly. If they are big pieces, I may have only two in process. Sometimes I will go to my metal work to keep playing and creating, yet give my stone carving muscles a rest. When I'm ready, I'll return to the stone and dive right in. But if I'm not ready, that tells me there are things inside me that need direction, or another experience I require.

 

For me, focus is very important. I'm a fairly spiritual person. Part of my Buddhist practice is to do prayers every morning and evening. They ground me; lbey remind me who I am and what I want to achieve. I go over my dreams and reiterate them to myself. This is where I build my sense of determination and my appreciation. done in lbe form of ritual prayer.

 

SS: Wherever the inner image comes from, it must be some kind of composite of who you uniquely are.

SB: I trust lbat whatever I am exploring at lbe time is important. However, it is not necessary that people see the same things in the sculpture that I do. Sometimes it will have a different meaning to them. There always remains that unknown element: the sculpture may act as a catalyst for them, revealing something in their lives that needs expression.

 

SS: I understand lbat you put on several of your own shows per year.

SB: I have done four shows on my own so far. I am discovering lbat my sculptures sell better when lbey are displayed all togelber. One of lbe benefits of your own show is lbat you get to meet lbe people buying lbe pieces and a sense of the sculpture's destination. The pieces are like children; in time, lbey leave to fmd lbeir own place.

 

SS: Do you keep the pieces around any given length of time before you show or sell them?

SB: I like to enjoy lbem for a while once lbey are finished, but occasionally lbey will disappear as soon as lbey are completed. When lbey're sold, you get to See lbe individual's excitement. I also enjoy it when people call me later to tell me lbat lbey lbink the sculpture is beautiful and how much it means to them.

 

5S: That sounds like real communication. Why do these objects have meaning to people?

SB: Because we place meaning upon them.

 

SS: Is it the energy that goes into it? Does this sculpture have an energy that's different than the raw stone?

SB: I think it's like magic. I have learned simple magic such as rope tricks and slight of hand. The whole idea of magic is lbe ability to change consciousness. With stone, people are amazed by how we, as sculptors, fmd something in the stone. I think of my work in stone and metal as taking things people overlook and presenting these materials in a form that they can appreciate. Sometimes, people discover more in a piece than even I have managed to see.

SS: Would you tell us about your history?

SB: I was born in Saskatchewan in 1963. My family moved to the Yukon when I was seven. The natural environment was very close. I was a big daydreamer, and had a good imagination that occasionally got me into trouble. I spent time wondering, "Why am I here? What is my purpose in life?" I was, left to my own devices as a child, and encouraged to pursue whatever interested me. I created fantasy worlds in my head, like parallel worlds. And you had to pass through little doorways in your mind to get to them.

 

I felt I knew more as a child than I do now. I felt like I was part of the world, part of nature. I was very comfortable being in nature on my own with animals; grizzly, caribou, moose. I felt in tune with nature. It was about people that I didn't have a clue. That was my next big adventure--leaming more about myself by learning more about people.

(Sandra recounts her adult travels and work history which include prospecting in the Yukon. studying geology, doing home renovations, sales in the stock market, working in a gold mine, working as a welder for an airline, and eventually becoming a sculptor.)

 

This was when I met George Pratt. I burned my boat once I found the shore I wanted to stay on. I quit my job and began to figure out how to make a living as a sculptor. I do not recommend this particular technique for everyone. It has created some challenges.

 

I've been a practicing Buddhist for the past eleven years. One expression they have is, "When the student is ready, the teacher appears". The teacher isn't always someone obvious. It could be a child, perhaps. who could teach you how to look at things differently. Sculpting is one of lbe things that appeared for me.

 

I'm also a member of the Soka Gakkai International, a nongovernmental organization associated with the United Nations. This group promotes world peace through education and cultural exchanges.

 

SS: What about your involvement now with lbe NWSSA?

SB: The Association has provided me with an invaluable opportunity to network with other sculptors, and many other resources--materials, education. The newsletters help me to stay connected wilb people and events. even lbough I am living a little off lbe beaten palb on Vancouver Island. This past year I was able to help organize a new symposium at Lake Cowichan. It was one of those opportunities for growth. I have renewed respect for the NWSSA members who are always so generous with their time and energy. (Sandra also participates in the fund raising auction held at the International Symposium at Camp Brolberhood. )

Artist Spotlight - Sudha Achar

I visit Sudha in her home near Wilsonville, Oregon. This is a spacious, light-filled contemporary-style home that looks like it was designed to display and enjoy art (Sudha designed it). It has a very open layout, with large windows that create an expansive sense of space. Sudha's paintings and sculptures abound and are displayed with their art collection. Mount Hood, in all of its splendor, can be seen in the distance across a rolling autumn landscape.

I am reminded of why I attempt to visit people in their own space/environment Simply experiencing a person's unique environment speaks volumes on who they are. As we view Sudha's large assortment of paintings and sculpture, it becomes clear that she is very diverse in both her art and her life and very at peace with it alL In her graphic work, she seems at home in several different styles; she works in very large and small scale (we look at her award-winning, 6'xlO' painting, "The Ganges'').

Her sculptural creations also cover a wide range. Stone carvings in alabaster, marble, chlorite, granite, jade, and basalt. She also works in ceramic, cast bronze, and most recently, glass. She seems to be an avid experimenter and learner. I came to talk to a sculptor and got a many-faceted creator who loves to cook and garden. She seems to allow herself to move with the creative impulse very effectively. I can't help but think she is something of a three-dimensional painting herself (she is often wrapped in silk "saris''). She has a gentle grace about her.

 

SS: What balance do you work between your painting and your sculpture?

 

SA: I don't have a plan. I just get into something, do it for awhile, then do something else. I have some very good work areas (an inside graphics area where she often works on the floor for large works, an area in the pool building where she paints and sculpts, a garage for clay and stone work and a barn for stationary grinding). But I don't like closed spaces when I'm sculpting, so I sculpt outside in the summer and I paint in the winter. That's how it worked out. With the breeze and the bird-song and the mountains, it's so inspirational. I just really love it.

 

 

I like to paint also. I belong to the International Experimental Society of Painters. You don't see anything traditional about my paintings. It's about freedom to create and have your own technique. There is an international show with members from around the world. They get together to paint and have a newsletter. They have regional symposiums. I go to Florida and paint for two weeks. All this is possible for me because of Patrick (Sudha's husband - both are psychiatrists in private practice). He is so encouraging. He's really my inspiration. If he wasn't behind me, I don't think I'd be doing all this. It's so demanding.

 

SS: And it sounds like you've found a personal balance with your art and your life. And having a supportive spouse is a god-send.

SA: He is so generous about wanting to make it happen for me. He covers my patients. He is so pleasant about me being gone, and then about coming to participate in my art activities and then the receiving hundreds of phone calls ... (An air of hawks soar by on the Oregon wind) I'm not under any pressure with shows and galleries so I do what generally pleases me. Fortunately for me, the galleries I'm in accommodate that to meet my time schedule.

 

SS: How do you organize your life? You seem to almost have three careers: psychiatrist, painter, sculptor. Anyone of those could fully engage a person. (Sudha even created a silk import business for two years.)

SA: People ask, "How do you do it?" It seems to come together. Sometimes I have to work at it, but most of the time it seems to fall into place.

 

SS: How long have you been doing all this?

SA: Painting ten years and sculpture eight years. I like to learn different techniques; glass fascinates me. It's like three-dimensional painting. Sometimes I think, oh, maybe I should put all my time into one medium, but I think I like the variety.

 

SS: What results from working in such different areas?

SA: My glass instructor aid my glass work was painterly. Others say my paintings are sculptural, which means you create a three-dimensional effect in your paintings. I guess one helps the other very much. Drawing certainly helps sculpture.

 

SS: Do you think drawmg can help when you're doing "direct" (spontaneous) carving?

SA: I like to direct carve. Sometimes I conceptualize the piece by drawing it from different views although it may not end up that way. I have not been successful at making a maquene; it's not my style.

 

SS: When did you move to the U. S.?

SA: 1973. I did my graduate work in London. I actually lived a few miles from Henry Moore. I'm really influenced by that group: Henry Moore, Barbara Hepworth, Jean Arp. My favorite artist is Antonio Guadi. He was know for his architecture. His architecture is sculptural. (She also mentions Donetello, Alexandro Pamodoro, David Smith, and Georgia O'Keefe.

 

SS: Do you find inspiration from Guadi's work in your sculpture?

SA: I think it's a summation of all these people I have admired.

 

SS: How did your upbringing in India affect your art?

SA: When I was seven, I remember looking up at an old temple sculpture and thinking about sculptors chiseling and making dust as they created these figures.

 

SS: How does your cultural experience affect what you do now?

SA: Being brought up in the sophisticated and cosmopolItan Bangalore area, I was encouraged to have the ability to do anything that can be done. Some of my paintings show the Tantric influence. (We walk around and view her art. We look at a piece of stone sculpture in yule marble, a 16" long "Lingmn" phallus shape - "part of the creative force." She tells about her adventure getting the piece through the airport x-ray machine and explaining that "it was just a stone." We look at a small standing figure in Colorado Yule marble, and "Black Iris" an abstracted lily form in chlonte.)

 

SS: What are your favorite stones to work with?

SA: Marble is my favorite, with all its colors. Even though I like the white marble, it's tiring after awhile. I like stone with more of the inclusions. And I like the harder stones: granite, basalt.

 

SS: Is there something about a stone that has more character, shape or color to it that might enthuse you to do something with it?

SA: I let the stone inspire me. (She tells about coming to her first symposium 1991/92 showing up in her silk shirt and red hat (trademarks) without any tools. George Pratt helped her get started and loaned her his tools. She chose to carve a face marble.) He has started so many people that way. That same year I went to the Marble, Colorado, symposium because I wanted to learn this. They gave me this 7' grinder and said "go for it" I didn't know any tools then. Initially I was intimidated but, with encouragement, I learned. (Most of the time, I liked using the 4" grinder.) I don't like to carve away too much stone. (We look at a female torso in realistic style with a dramatic opening to the abdominal area.)

 

SS: Is the opening a conscious thing or...

SA: It's just a "Iet-us-see-what-happens" thing. It's a free-associating thing.

 

SS: When you go back to it, does it have a rational meaning for you?

SA: It's a highly erotic piece. It was hard for me to do that (cut in the void because it was such a good figure form) but sometimes you want to not be so attached to that (perfect form).

 

SS: (We look at "Shiva", a male torso 3' tall in a thin slab of chlorite.) Your pieces have radically different styles. Why is that?

SA: It's a different day. It's a different me. If you watch the colors (in her painting), they're similar. I can't get away from that (brilliant primary colors) (We look at her fused glass, and small cast glass. She is excited about her recent experiments.)

 

SS: Do you have a preference in the sculptural media you use?

SA: I like stone a lot But then, I like the spontaneous too. And now the translucency and luminosity of glass is getting to me. (We discuss an alabaster figure "Parvathi" - Shiva's consort.) This piece evolved from the curved cut of the grinder mark on the stone into a torso form. At one viewpoint, it looks like there are two figures. That's what I aim for - a sculpture that has rhythmic lines from any angle. It doesn't matter if it has an identifiable shape or not as long as that works. That's what I'm interested in.

 

SS: So you don't have a clear preference between realistic and abstract style?

SA: I'm intrigued with the human form becanse of that pleasing line from all viewpoints. More so in the female form. (We look at her new fused glass panels and talk about their color.) That's how I see work in one media supporting the other. My interest in painting helps me with design. Glass, oh, it's fascinating. It reminds me of coming to the symposium for the first time and seeing all the different stones. I was like a linle kid following the piper.

 

SS: How do you find your art work relates to your work in psychiatry?

SA: They're very interrelated. They connect free association and logical thinking. A good physician is an intuitive physician. A great physician-scientist doesn't make a healing physician. A physician who blends the art of conveying his science to the patient makes a great physician. So I think it's absolutely interrelated. Also, I have the knowledge of so many souls, intimately, more than most people (having worked with many people). And that stays with me; it shows up in places I'm not even watching out for.

 

SS: Do you use drawing in your therapy?

SA: With children I use it a lot They don't know how to tell you their sorrows. But if you let them tell you a story about their drawing, you've got all that infonnation. It's non-threatening. You can talk in third person.

 

(We tour her carving area in the garage. We view several sculptures in process then move to admire her collection of stone: large pieces of jade, granite, many types and colors of marble, and basalt laid out for viewing around her outside carving area.)

 

SS: How do you do your lifting?

SA: All by hand with the help of others (often it's Patrick). Soon I'll buy an engine hoist. I'll learn how to strap and lift. I don't think there is anything like doing it yourself to learn how to do it. (We look at a 4' high triangular column of black granite and she describes her plans. "I'll leave it simple, work the edges, add a circle here, and polish it."

 

SS: Do you find the physical part of stone carving difficult?

SA: In medicine I got accustomed to being in a position of gi~ng. To ask for help is hard (in moving things and such), but I learned to get help. I'm now physically stronger than I've ever been in my life and I pace myself in the work, alternating tasks to ease the stress.

SS: How often do you work?

SA: Whenever I have time. It's actually in spurts, between traveling and other activities.

 

SS: It seems your whole story is about traveling, experimenting, learning and creating. Were you encouraged by your family to do art?

SA: More in the performing arts. My mother was a concert vocalist in Indian classical music. I can't carry a tune. I remember my father taking me to a local collection when I was a linle girl. There was a painting of a woman holding an oil lamp in which the lamp is burning, illumined. I went over to see what's behind the painting, lighting the lamp, and hit my head on the wall. It thought it was so beautiful that someone could do that. My interest was medicine at the time and my parents supported that.

 

SS: What are your major themes?

SA: The human figure. In my paintings a lot of times, the soul comes through. As the figure, it's the form and the line, the grace; I really feel it. In my abstract work, it is shape-for-shape-sake when I am sculpting the piece. But when I look retrospectively, the shapes seem to represent some part of the human body.

 

SS: What would you say the origins of your art are?

SA: I think it's the intuitiveness. It comes from the soul. And intellect defines it. But you couldo't do it from smarts alone. When you look at things in retrospect, you analyze and get insight into it. When I look back and think "why am I doing this?" I realize my philosophy of us being here is "have fun and leave the place a little more beautiful." I've achieved that in medicine. I've relieved pain and suffering and comforted patients. Hopefully in my art, I'll leave something behind. In my home life, I think I make Patrick happy. I do struggle with some of my art when it doesn't achieve what I want as soon as I want. In some pieces, pain does surface. As long as I'm not fully confident of the technique, then I'm conscious of what I'm doing. Once I know the technique, I let it happen. And then things show up. And most of them end up being an exuberant expression of myself.

 

SS: Thanks, Sudha.

 

Note: Sudha has been a board member for the 96-97 term acting as liaison to Oregon members and is just finishing helping review our bi-laws. She arranged and organized an upcoming stonecarvers show at the Oregon capital building. She also helped organize the last Silver Falls stone carving symposium at which she was an instructor. She is represented by Nancy Jordan, Inc. (Seattle), Art Inc. (Portland, Oregon), and Charlotte's Gallery (Sun River, Oregon). She has had shows at the Medical Association (portland. Oregon) and Intel Corp. (Portland. Oregon), and the State Capital Building (Salem, Oregon). She also shows with Sitka (a non-profit group promoting art and ecology).

Artist Spotlight - George Pratt Sept/Oct 1997

As I arrive at his home George is showing his sculpture to some customers at his dining room table. It is a nicely appointed room; the pieces are displayed in an attractive showcase and on various surfaces around the room. They are lighted with spotlights. Most are smaller pieces carved from marble and jade. His customers select two of the bird forms in Rainforest Marble. The birds are balanced so that they pivot on their plate-glass bases. George wraps them up and writes a personal note to accompany them. On the way out the door one of the people puts a 'hold' on one of the sculptures on the shelf.

 

GP: You see, those people who buy that little coffee-table sculpture for a wedding gift- they also work somewhere-perhaps at a firm downtown that would have influence on doing public artwork. The guy who owns one of your smaller works may be the one who will recommend you to be purchased into the corporate art collection.

 

We then head off to George's studio a few blocks away near Vancouver's Chinatown. It is a one-story industrial building with a paved surrounding yard right next to the train tracks. Trains occasionally thunder by...

 

GP: It's difficult for sculptors to find suitable downtown space to do their dirty work. A screaming diamond grinder will bring an irate neighbor faster than anything I know. I have a wonderful shop immediately adjacent to the railway tracks. If you think I make a little noise or dust, you should see what the railroad does! So they can hardly blow the whistle on me.

 

We proceed to tour his studio. We look at his 'Shadow Garden', a collection of large river boulders gathered together in a grouping. Each boulder is carved with different patterns of line and texture, hewn deeply to emphasize the shadow effect of sunlight shifts and with depressions designed to catch rain. We move mto the studio and view a work in progress-a large horse's head in startling blue sodalite which will be featured in his November show.

 

GP: It needs to be a little more 'equine', more graceful of line. Up to now it has the character of a carousel pony. Simplicity is the name of my game. Strength and power through simplicity.

 

The discussion shifts to showing sculpture.

 

GP: You'll find few people attempting to make a living carving stone who've had a successful relationship with a gallery. Few gallery owners know how to present sculpture. Most have a tendency to put the sculpture in the corner as an adjunct to their paintings. Few will actually feature sculpture nor light it properly.

 

Michael Binkley and I had our own gallery for two years. We made it a policy to show only sculpture abetted by lots of flowers in stone vases. There was not a painting in the place, because much as we like paintings, they steal the focus from sculpture and we wanted to make sales. And sell we did - a tremendous amount of sculpture from that delightful little showroom, both of us building our collector base tremendously. It was well lit with spotlights-a must if you want to sell sculpture. As you can tell, I'm opinionated about these things. But that is what has helped me survive. I've seen people set up home sculpture shows but they don't go to the trouble of installing proper lights, i.e., focused spotlights on every sculpture. It's half the battle. (Another of George's interesting opinions is that assigning a title to a sculpture can interfere with a sale if the client can't relate to the title. He tags his works with only generic descriptions.)

SS: When you price a piece of sculpture, what are the considerations? Why do you price the sodalite horse's head at $10,000?

GP: Clearly I didn't work it out 'by the hour'. The price in this case reflects an arbitrary value I have placed on its uniqueness and elegance, a factor that goes beyond the hard cost of producing it. It's priced for mystique, not practicality. However,l must know in my heart that the piece will be perceived to be worth the money. It may not sell. But who wants to be seen at a show where everything is cheap? What art writers would care to write about it? There are many people among us to whom $10,000 for a fine artwork is not significant. Such people do not want to buy what everybody can buy. They seek out that which is rare as well as beautiful. At our last Faces & Figures show, I sold a $15,000 piece and in the one previous, Michael sold a $19,000 piece and I sold a $6,000 piece both to one customer. Those people will be back to our next show with their friends-and they will be expecting an encore of something equally worthy. But as well, one's show must have many works priced between $250 and $750. There is an army of ordinary working people out there who love sculpture and they can and will put that amount on their credit card.

 

We examine the horse's head.

 

GP: I made this for our biannual Faces & Figures show about five years ago. It started out as a massive block of soda lite from a quarry near my home town in northern Ontario. It is a splendid stone, profound blue, nicer than the Lapis Lazulis you've seen. I showed it as a finished work, but although it was competent and adequate, it never really pleased me. It was not exciting. It was a playground pony rather than a spirited mare. So I put it away out of sight for four years and have now started recutting it. And I can already see that in this year's show it will convey the excitement it lacked before. Horses are not my forte, I should point out. I've had to struggle with this one. But it was almost a horse when I found it in the quarry.

 

SS: So what was your thinking in reworking it?

GP: I thought, if I do recut it, will it be a better sculpture? Or will it just be a waste of time? I firstly had to figure out what was wrong with it. After a four-year cooling off period it was easy to look at it clinically rather than passionately and see that the main problem was too much weight in the throat and an indistinct jaw-line. As well, the ears needed to be more drawn out and graceful. Clearly there was a more elegant horse lurking in there, it just needed some tweaking. So I got started recutting. I want a lot of money for it, so let's make it worth the money. I'll be also working on slightly 'doming' the flat bottom so that the horse will rotate when gently pushed. I discovered that in sanding the flat bottoms of my 'coffeetable' sculptures they have a tendency to round off. If the center of the resultant 'dome' be near the balance point of the carving, then it will rotate on its base, lending an agreeable kinetic value that a stationary piece does not have. It has become a trademark.

 

I love art. 1 love sculpture. But I've never considered myself to be a great artist. I go to the symposia and I'm envious of the abilities some of those sculptors possess, novices and experienced artists alike. I could take a lesson from most of them. My natural skill is in making sales. I genuinely like people and can relate well to almost anybody. I can sell things to people who didn't intend to buy in the first place. In the beginning, I didn't give much conscious thought as to whether I could be a success as a stone-carver. I just knew that even if I wasn't very good at it I'd still make lots of sales. I encourage all aspiring sculptors to work hardest on the sales part of their career. I hear some who say loftily that the purity of their work is all that counts and they will never compromise their principles merely to make sales. And that is very noble. But it usually ensures a career as a waitress or taxi-driver.

 

We tour George's studio. We visit the 'wet' room in which he does his waterfed carving and polishing. He has a drill press for core-drilling with water, a station with 10" x 1/4" carving blade running at 3400 RPM, and a station for sanding with both silicone carbide and diamond belts. (The carbide belts are not as aggressive but they are more flexible, he explains.) All machines are driven by permanently wired 220V electric motors. The room has a floor-drain to carry away the carving slurry into a cleanable catch basin. As well, he has a 20" diamond chopsaw which results in an 8" cutting depth, used for getting his raw material down to a carvable size with little waste. He considers this to be an essential for the serious carver. His compressor and air-powered carving gear as well as hand tools are in the main room, He

likes to work on pieces in progress in the outdoor yard where he also store his raw material. About the shop are example of 'utilitarian art' as he calls it: Granite benches and garden lanterns; stone oil-lamps and flowervases; and an attractive business-card caddy made with granite cores set in a concave base. He produced two hundred of these last year for presentation gifts for a bank. More hard work than

great art, he comments, but it paid the rent. "If you reserve the ability to make utilitarian items you can stay alive as a sculptor."

SS: What balance do you try to achieve between utilitarian items and fine art pieces?

GP: In a perfect world I would like to produce nothing but pure art sculptures the size of a bread-box. One can start and finish such works before one gets bored with them and they fetch respectable money when they sell. And they are large enough to be thought of as important. Good for the ego, very collectible for the corporate lobby. That I'd like to be able to do with no interruption. But there's always the nagging practicality of making sales, So the preponderance of my work is in pieces smaller than a loaf of bread-mostly animals and birds and small human (mostly female) figures. About 70% of what I have survived on has been those kinds of pieces. The other 30% has been 'larger-than-a-bread-box', in fact sometimes quite massive. It's nice to get a commission for a large public art-work. But such works tend to be better for the ego than they are for the pocketbook. They take a lot of energy and can result in a big-time vexation to the spirit.

 

SS: Note: George's resume includes "The Builders", a 21'-high composition of large black granite blocks and polished bronze figures located in a Calgary office complex. The commission included doing all phases of construction and installation for a price of $150,000, taking seven months. Among others, he promoted and co-created a multi-figure life-size installation depicting an Eskimo myth of the Sea Goddess Sedna. (George carved the Sedna figure which was seven feet high, carved from a 13,000 lb. piece of Arctic marble,) Three Eskimo carvers created accompanying figures of the animals over which Sedna rules. The pieces were carved at a wilderness marble site near Cape Dorset on Baffin Island (with many difficulties) and then transported to Toronto for installation in the corporate lobby of The Royal Trust Company. Commission price was $230,000.

 

GP: I am negotiating just now for a large public work which will be similar to an 'inukshuk', which is a structure of natural stones assembled into a human form. These forms are built by Eskimo people in the Arctic and are often used as markers for travel.

 

We look at the foam models for this potential piece. He has set aside two massive granite quarry-blocks at Quadra Stone's yard, each measuring 20 feet in length. These will be the 'legs' for his inukshuk.

 

GP: The stone is now in angular blocks, but I want them to look like worn river-stones, akin to the shape of huge french-sticks. My inukshuk will not have a secret, inner meaning. It will simply be a huge, carefully balanced sculpture of great mass and power. And its power will be, in its simplicity, there being only five pieces in the structure.

 

We look at George's sculptured benches, including one he describes as 'The Palliasse' bench. (Look it up in the dictionary.) At 4' long by 18" wide, it is made to look like a padded blanket or pillow which is flowing like a magic carpet. The flowing curves make it comfortable to sit on at any position. The base block is carved with rippling waves and shadow-lines.

 

SS: I know you don't profess to have any hidden 'meaning' in your pieces, but what were your thoughts when you were doing a work like 'Shadow Garden'?

GP: I'm not entirely into birds and bears. This work is total fantasy, no one piece being identifiable as a known creature or thing. Each is carved to maximize the effect of texture and shadow and form. Will it sell? I don't know. But in a departure from the eternal practicality of making a living that I have been harping about, 1 feel that I must do it and to hell with whether it sells or not. Not like me.

 

SS: How did you get into stone carving?

GP: I had worked at various industria I sales jobs. In 1970 I took a job selling high quality business furniture, which opened up the world of design and art for me. It was like being born again. I was surrounded by designers and architects. I learned the joy there can be in simplicity. I met my mentor, E.B. Cox, who was the first stone carver in Canada to work in the scale of the 'coffee-table' sculpture. I became obsessed with his work and his life-style and I pestered him mercilessly to show me how it was done. I carved at every spare moment, learning all I could from E.B. and experimenting with methods of my own. By 1972 I had produced a small collection of very humble little carvings and was encouraged to sell eight of them at a craft show that year. So I worked at it all the harder, eventually spending more time at carving than at my job. I moved to Vancouver in 1975, doing two shows a year at my home for the next 13 years, building up a stable of collectors and getting much better at the craft. Eventually the business built up and 1 took my last regular paycheck from a job in 1979.

 

SS: How do you see yourself as a teacher?

GP: I seem to know most of the things you have to know to make a sculpture. I don't pretend that I'm teaching people much about art. There are so many good artists in our association. But I carve stone every day and there are not many problems about producing sculpture that I have not encountered. So I have a let to teach people who seek knowledge. I like people who like stone. I'll be at the Cowichan Lake symposium in September and Silver Falls again in the spring.

 

George seems to embody the notion of "Just do it." He is generous, if opinionated, as well as energetic, very productive and encouraging of others, a fact to which many in this group can attest. He is one of the founding members of the association. He is a regular instructor at our symposia, in which he shares his knowledge of tools, process, and sales. He also occasionally shares articles about tools or carving processes in this newsletter (a collection of which he promises is getting ever closer to being a book for stone-carvers.) Many thanks, George, for all you've contributed!