Thoughts & Opinions

Elders Rock! Sept/Oct 2007

Details: Created: Saturday, 01 September 2007 21:38

For the first time, the Northwest Stone Sculptors Association International Symposium 2007 hosted an Elderhostel program, “Introduction to Stone Sculpting: A Hands-on Workshop.” While the group was much smaller than hoped for, only four, the enthusiasm was HUGE. Each of the four had lots to say about the experience.

Cathleen Wood, a recently-retired elementary school art teacher, dove right in with joy and determination. She tried every available technique, going home with a nearly completed piece plus three more stones, and tools on order.

Peter Gritt, 72, is a Port Townsend WA artist, retired from the Hollywood film industry. He came to the workshop curious to explore a medium very different from his usual fabric art installations. Peter addressed his stone with humor and vision and even incorporated a found object into the piece. He especially enjoyed the Sculpture Garden as “inspirational.”

Alice Dworkin is a clinical social worker in a southern California hospital, who has always created art in spite of a hectic schedule. Looking forward to retirement in a year or two, Alice wants to focus more on art, and loved the feel of working in stone. She came away with a dramatic piece, interesting from all angles, and tools coming to continue the work. She also reported she “hasn’t laughed so hard in ages”.

Jenina Deshler, 66, a psychotherapist in private practice in Seattle, came because Alice (a friend from graduate school on) said “don’t argue, just send in your check.” She had no expectation other than “an adventure” and fun. The emergence of “something in the stone” was a complete and delightful surprise.

All four participants were VERY appreciative of their teachers, Tracy Powell and Tamara Buchanan both of whom were attentive while not hovering, generous and funny and only strict when it came to safety. Their expertise is phenomenal and their attitude allowed the “newbies” to feel welcomed as potential colleagues and not a bunch of thumb-bangers. In addition to the blessing of these two wonderful teachers, were the other sculptors attending the Symposium. Each one was generous with his/her time and welcomed conversation and participation. The impromptu talk by the “stone guy” (Randy Zieber) really brought the stones to life.

It did indeed feel like one was in the presence of real elders. The workshop ELDERS agreed among themselves that they had never been with such a generous, unpretentious, and deliciously irreverent group. One quipped, “I will join the Association just so I can say I belong to this great group!”

It is easy to see why Camp Brotherhood has been the home of this summer Symposium for so many years. The accommodations were pleasant, the food very good (with the exception of frozen vegetables), the staff was attentive, and the field work-setting almost magical even with the rain and noise. The four ELDERS will hold this experience as one of the best and will make sure the Elderhostel program mavens support future workshops with this group. To ALL of you from ALL of us, thank you.

A Carver's Trip to Pietrasanta: Part 1 Sept/Oct 2007

Details: Created: Saturday, 01 September 2007 21:05

My inspiration to turn my artistic talents toward stone sculpture started in 1980 when I saw Michelangelo’s unfinished “Slaves” in the Accademia in Florence, Italy. Since then, I have always wanted to return to the country of my epiphany to carve marble in a traditional studio. Through reading in Sculpture NorthWest of past adventures of colleagues, I learned that Pietrasanta was the place to do so.

After an art tour we lead on a cruise ship ended in Rome, my wife, Michelle, and I extended our trip by train to make a weekend reconnaissance of Pietrasanta in May of 2005. Through some fortuitous events, we were introduced to the renowned Studio SEM, and its manager, Keara McMartin. I knew this was the studio I would return to carve in – some day.

In early 2006, I secured four handsome commissions to be executed in Italian white marble. With deposits in hand, I had the means to realize my carving dream!

Pietrasanta – literally Saint Stone – is an ancient medieval town in the Versilia region of Italy, laying 3 miles inland from the coast and situated between Pisa and Carrara. The old fortress still watches over the town, and the heavy protective wall still stands in places. Life revolves around the Piazza del Duomo, and rotating markets and sculpture exhibits are held here. You can keep an eye on who’s sipping a beverage at the many bars and cafés that line the plaza any time of day by

logging onto the town’s web cam at www.pietrasanta.it.

The Duomo still serves the Catholic faith, but the other churches around the square have been converted to art galleries and museums exhibiting sculpture, sculpture, sculpture! Ever since the magnificent white marble has been extracted from the Apuane quarries (beginning over a thousand years ago), sculptors have come to Pietrasanta to carve it into fine art works. The old world charm and the smiling warmth of the locals endure and Pietrasanta is still a lovely town. Great restaurants at all levels of budget, shops for clothes and food, and a good tool store – although is it worth it to take the time to go to the outskirts of town to shop for tools and equipment. Milani Tools is still a favorite with carvers, but there are many others. The town is host to many bottegas, or studios dedicated to carving stone.

Pietrasanta is very small, and walking within the old walls is a simple task. The train station (you must arrive by train from the airport in Pisa) is only a 3 minute walk from the main piazza. For this reason, we opted not to rent a vehicle. Train and bus travel is very easy and economical, however, you may consider renting a push bike or perhaps a moped, so as to be able to have the freedom from transit schedules.

We made plans to be in Pietrasanta for the month of April 2006. This was the last month before both studio and accommodation prices jumped for the summer season. May to September are the high season months, but a warning – April not only has Easter, but also Italy’s Independence Day. This, plus a national election, meant that I would lose five working days due to studio closures.

The studios are working places staffed with artisani whose job it is to copy and/or scale up maquettes into stone. These maquettes are sent by artists from around the world to Italy, and the finished products are shipped back. Studio SEM has garnered a solid reputation for this type of service, but it also has room for visiting artists to rent temporary studio space. It is well equipped with compressed air, electricity, worktables, scaffolding, turntables and craning assistance – just about everything you need, except your tools. If you are interested in renting space to carve in Pietrasanta, or if you need Italian marble for a project, do contact Keara at www.studiosem.net. She is a sculptor herself, and extremely knowledgeable about the many varieties of marble.

My weekdays were typically thus: I awoke at 6:00am, and went for a run to Val de Castello, a little town up the valley behind Pietrasanta. After returning, I made myself breakfast and quietly left for the studio. I would arrive at 8:00am and work on my projects until noon. I’d go back to the apartment and have lunch with Michelle and return to the studio at 1:00pm. I’d work until 5:00 and then enjoy the evening with Michelle. We’d usually wander down to the main piazza for a glass of wine in the early evening sun before moving onto supper and then to a music concert or gallery or museum. Being such a cultural hub, the Italian government ensures that many events are free admission, which really encourages public involvement.

In the next issue you’ll read more about what it was like for Michael and Michelle to live in an Italian town. You’ll also read about and see photos of Michael’s commission pieces and what the Italian artists thought of his tools.

Terry's Tips - July/Aug 2007

Details: Created: Sunday, 01 July 2007 20:14

- - - Plan ahead when moving a sculpture, even during creation. Destination space prepared? Clearances OK? Power cords and hoses out of the way?
  - - Inventory your tool boxes in case of loss/theft. It also presents an opportunity to become reacquainted with forgotten tools.
    - I notice glass vases are popular glass art forms. Why not for stone? Polish a surface or two, carve a relief shape or pattern on another, and drill a hole. Voila! A vase. With a custom dried-flower arrangement from Michael’s, a nice centerpiece is created. They make nice gifts, or opportunities for inexpensive sales, and a way to use up scraps.
    - A set of multi-colored Magic Markers can be used to cover up the apparently inevitable nicks and scratches to sculptures during transport and display, until permanent repairs can be made. Jim Heltsley has a small bag with various grits of sandpaper, shoe polish, a rag, and other necessities for on-site minor repairs.
    - Pre-inked rubber stamp gone pale? Store it upside down for awhile so the ink flows back to the surface.
    - On softer stone, scraping with a chisel edge, paint scraper, or back of hacksaw blade (which can be bent to follow concave surfaces) can be quicker than several sandings.
    - When using small core drill bits, a broken-off core inside can impede progress.
    - Zip-loc bags can be used as a mess-free container to mix small quantities of plaster, Rock-hard Putty, or other patching compounds.
    - Stuck in traffic? Leave some room between you and the next car to be able to maneuver around a stalled vehicle.
    - Thin-walled chrome/brass/copper tubing can be used as “show” on an exposed pin if beefed up inside with all-thread or rebar.
    - Make sure your table top or floor is level if you are using it as a reference for plumb bobs and levels. They’re true to the earth’s surface, not a sloping floor. A carpenter’s square will give you a perpendicular to its reference plane. “Eyeballing” can be myopic.