EVOLUTION OF AN ARTIST
The Bare Essentials
April 21, 1946- born in Lafayette, IN
1948-1965- grew up in Connersville, IN and Rochester, NY; while in Rochester developed a strong interest in jazz and classical music, thanks in large part to the presence of the Eastman School of Music and weekends at local jazz clubs
1965-1970- attended Indiana University School of Music, majoring in bass trombone (somebody had to)
1968- married the former Penny Akens, now the corporate wizard CPA, sparing her from a life on the road with Connie Steven’s future drummer, a fellow student and romantic rival
1969- was graduated from I.U. with coveted degree in bass trombone
1970 and 1973- begat two perfect children, Theresa and Adam
1970-1977- seven years of blue light specials with the management program of K-Mart. Hey, even trombone players have to eat. They did let me select the background music, though.
1974- began painting as a hobby, thanks, oddly enough, to the friendship and encouragement of a fellow K-Mart employee
1977-1999- pursued a full time art career painting photorealistic urban landscapes
1999- 2009- designed and built contemporary furniture and accessories
2009- present- designing and creating turned vessels and sculptures
Click on the Paintings photo to see more examples with large pictures.
Click on the Furniture photo to see more examples with large pictures.
ARTIST STATEMENT
Good design is the bedrock upon which any successful artistic enterprise is built. The psychological space a work of art occupies, its visceral magnetic allure, is as meaningful as its physical presence. As an artist, I’m keenly aware of the importance of this principal. The measure of success I achieve is directly related to my understanding of these dynamics.
Craftsmanship is also unequivocally vital. Solid construction technique, an understanding of wood behavior, and attention to detail are an absolute prerequisit to the success of the finished product. Every component of a piece deserves the same degree of scrutiny and attention. Each part is an integral component of the whole.
I spent much of my professional life in the 2-D world, painting photorealistic street scenes on canvas. Years spent photographing and observing urban life taught me much about form and design. Odd, seemingly random patterns can spark a new idea or fresh approach to a piece.
My design influences are many and varied. The shapes and proportions of interesting buildings may spark an idea. Almost any other artwork can have an impact. Art Deco and Asian influences are certainly evident in some of my pieces. Often the wood itself will suggest an idea; a particularly unusual grain pattern or texture can trigger an interesting project. Even organic sources such as land formations and plant structures exert their subtle pull.
Wood combinations are also very important. The interaction of various grain patterns, colors, and textures can define a piece and its impact on the viewer. Too much going on and it’s a visual jumble; too little and it’s pedestrian and dull. I spend a great deal of time sorting through my collection of different woods (and other materials as well) to find the right combination that will conspire together to lift my work to new heights.
Often it’s an open-ended process. Much of my work grows and matures on its own. That is, I may start with a specific idea, but as things progress new thoughts come to mind and the piece may change direction. Woodturning, like stone sculpture, is subtractive in its approach. You cut away at something to reveal the hidden inner beauty it holds within. As shavings fly off the piece of wood, new patterns emerge as well as new spatial relationships. This affects the way I further compose the piece and surprising things often result that completely transform the final object.
That’s a big part of the fun, and it can be an even bigger challange to free my mind and let intuition and inspiration take over. It’s a calling with many rewards and I’m grateful to be a part of it.