Original Sculptures in Unique Wood Burls, Marble and Alabaster
Moorea - Redwood Root 46" x 46"
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All About it
After finishing a sculpture there are always the same two questions running through my mind: How did I do that? And will I ever be able to do that again?
Sculpting chose me. Fine art wasn’t something I was exposed to growing up. The story of how I became an artist is a story full of unexpected turns of events that would make any skeptic believe we all have a destiny. The whole story is best shared on a leisure evening sipping some amazing bourbon, but for now, here is what you need to know.
When I was 19, I began an apprenticeship to the great sculptor, Sig deTonancour. This gave me many advantages, but one of the biggest is that I learned to sculpt in both wood and stone from the start. Being an apprentice also meant that I learned to sculpt backwards. I started at the end, learning how to hand sand, then to use hand chisels and files, and then on to small power tools. I would be handed a piece that was primarily done and then spend days just working on the finest of details. Because of this, my pieces have a unique unhurried sensuality in the finish that calls to be touched and appreciated. I think this physical connection is why sculpture is so powerful.
One of the most frequent questions I am asked is, "Do you see what you’re going to sculpt before you start?"
It’s an interesting question with an interesting answer. I am rewarded for each step I take by having only the NEXT step revealed. I generally “see” what I am going to sculpt within seconds of looking at a piece, but I don't see the final product, I only see the basic silhouette. Once I cut away the excess, the next step appears, and so on. It is a valuable life lesson as well, you don't have to have it all figured out, just take the next step.
Another frequent question is, "Do you prefer to sculpt in wood or stone?"
The answer is always... “both”. Stone and wood are complete opposites. Wood is free forming, wild, and warm. It’s where I prioritize collaboration with nature and have to remain open to, and accepting of the unexpected. Stone is powerful, mathematical, and a slow battle of will. It’s difficult to take a square block and give it motion, grace and spirit. The wood burls are from Northern California and Oregon, the alabaster is primarily from Southern Utah, and the marble is imported from Italy or Portugal.
And finally, How long does it take you?
I am reminded of the famous story of the lady who approached Picasso at a restaurant, handed him a napkin and asked him to scribble her a "quick something." She offered to gladly pay him whatever he felt it was worth. He replied, “it will be $10,000” and the astonished woman replied “but it only took you 30 seconds” and he said, “no, it has taken me 40 years”
Sculpture requires energy, perseverance and courage. There is no “playing it safe” or trying not to ruin an expensive piece of marble or a rare piece of wood. Risk is a prerequisite, the willingness to put your whole self into it while accepting that you may fail big... OR, you may create something new and magnificent! This is what creates true art.... or ANYTHING true!
Alexandria
Sig deTonancour
My mentor and life long friend
THE PROCESS
