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PNWS International Sculpture Day 2021

A space for possibilities opened up when an anonymous sculptor installed a portrait of an American Pioneer on Mt. Tabor a few weeks ago. York immortalized, his story made huge and inclusive, his face deep in reflection. The expression could be asking, “What have I been through, what have I become?” The unknown artist’s story is also left to our imagination. Opening the possibility that many sculptors (you and I) could do something like this, step onto an open stage and change the story of America.

York’s story is our story, not by claiming it or using it, but by opening up our hearts. Letting them break open to stories that have been ignored for hundreds of years.

The theme for PNWS IS Day 2021 is Unrecognized, that which has been ignored or undervalued. Many of us came to be artists because we recognized things in the world that others did not. The skillful artist reveals some of the picture, letting the viewer fill in the missing pieces. The success of that art is when a viewer recognizes part of their self in the story. This was the challenge for IS Day this year, the event would happen only if people found themselves in the theme. The following is an excerpt from the letter sent to the PNWS Membership announcing the theme and inviting participation:

The PNWS Board will facilitate projects or meetings, but the motivation will be up to you as PNWS Members. Our group’s potential should not go unrecognized. We are diverse and resourceful, and if we come out from our studios to meet, we find a commonality that has the potential to be a community. Your reply to this invitation is vital in that effort. Let us know what you think of these ideas and what you would like to see happen.

PNWS Member, Chayo Wilson, has stepped forward, embracing the potential of IS Day 2021. She is leading the fabrication of a sculpture at the Oregon Society of Artists gallery/school. Chayo is a clay artist and a teacher, who has collaborated with several other PNWS Members. The piece she is presenting on April 24th will also include the efforts of a handful of Members, along with two new Partner/affiliates: OSA (hosting the event and providing a pedestal in their front courtyard) and Helensview High School. The relationship with Helensview is new and evolving, but the projection is that the young artists there will be empowered to find their voice through clay. This gesture echoes the installation of the York portrait on Mt Tabor and fulfills the theme, Unrecognized.

The open pedestal in front of OSA is tangible center point of PNWS IS Day 2021. It is like the pedestal on Mt Tabor where a statue of a wealthy white man was replaced by an unappreciated, black pioneer. There is possibility for our evolution as individuals and as a Member organization, that is being played out in many ways. The Board is attempting to recon with racism and other issues of equity in a Membership organization that thrives on a Peer group ethos at the same time that we are looking outward at partnering with other arts and education organizations.

We have the resources to do this all. PNWS is full of diversely talented individuals that can rapidly solve multi-dimensional challenges, when we work together. Our full potential may be unrealized, but not Unrecognized.

New Sculpture Park seeks Pacific Northwest Sculptors to Exhibit

Price Sculpture Forest on Whidbey Island near Seattle is preparing to open soon. Infrastructure is already in place, including professionally constructed walking trails, paved parking lot, utilities, security cameras, and public WiFi. The first set of sculptures was installed in the sculpture park in August. One of those sculptures has already been sold even before opening, with multiple others donated to the park’s permanent collection. You can view several of the sculptures on our website blog and social media pages (see below).

The current Call for Artists is looking for additional high-quality sculptures for the 2020 grand opening. The Sculpture Forest has two themes, each with its own walking trail loop: Nature Nurtured (for sculpture representing either living things or natural elements) and Whimsy Way (for sculpture that is fun, humorous, or whimsical). If you have an outdoor-oriented, year-round sculpture that fits either of those themes, you are encouraged to submit an informal proposal. Go to www.SculptureForest.org/sculptors for more info.

A Great Opportunity for Sculptors

To help early participating sculptors, the nonprofit organization running the park is providing zero commission (100% of sale proceeds to the artist), sculpture insurance, marketing, and onsite installation assistance. Sculptures can be for sale, on loan, or donated to the park’s permanent collection. The park will also provide a personalized advance tour to any sculptor submitting a proposal and considering public exhibition. Early participants get to select their favorite location that helps show their sculpture in its best setting.

The Sculpture Forest is excited that PNWS member Matt Babcock will be exhibiting his sculptures Standing Otter and Discobolos. Three other members have also expressed interest as they work out specifics.

The Sculpture Forest concept took root eight years ago when founder and PNWS member Scott Price had impactful experiences at other sculpture parks. He imagined his 16 beautifully forested acres, accessible by road, bike route, and an existing walking path near historic downtown Coupeville, would be a significant tourist draw for the town and broader area that he calls home.

A Sustainable Sculpture Park

Preserving the 100-year-old trees and verdant native habitat forever was also part of the plan. Scott worked with the Whidbey Camano Land Trust to create a permanent Conservation Easement that removed all residential development rights from the property. The Conservation Easement has been designed to create a public sculpture park within the preserved forest. He then formed a 501(c)(3) nonprofit organization to run the Sculpture Forest.

Scott’s long-term goal is to make Whidbey Island an outdoor sculpture park tourist destination. There are already six different sculpture locations on the island, each with their own unique approach. His plans are to collaborate with the other organizations to market a Whidbey Sculpture Trail under a cohesive public relations, events, social media, and digital strategy.

You can learn more about the upcoming sculpture park and its opportunities for sculptors:

www.SculptureForest.org

Facebook (www.facebook.com/PriceSculptureForest)

Instagram (www.instagram.com/pricesculptureforest)

To learn more about Pacific Northwest Sculptors events, contact us today!

Space is the Place

Reflections on Meditation and Sculpture Process

Recently, my meditation practice expanded into my clay studio. There was a spontaneous notion to stop all action, pause every agenda, and sit in the middle of the floor. It was almost surprising how easy it was to do in that fairly busy place. There are hundreds of ceramic figures, raw and expressionistic, in some stage of aspirational metamorphosis. I had somehow discovered that sculpture process in the middle of all those pleading eyes, shouting color and texture, there is a serene place to sit in stillness.

A few months ago during Julian Voss-Andreae’s PNWS Zoom presentation, he mentioned the practice of meditation as an inspiration for art. Very quickly several people responded, a brief but energetic discussion about the challenges of regular meditation practice. This stood out to me: sculptors are into meditation. But it also made sense: I’m a sculptor and I’m into meditation as it’s essential to my sculpture process.

Meditation and Sculpture Process is Different For Every Artist

My meditation practice has found its own organic way over the decades. I took up Transcendental Meditation in High School, studied Buddhist forms in my college years, did the silent retreat in Thailand, and studied chakra theory. All of this has come together into a uniquely personal practice of wordless, keen observation, and intuition. I go where I need to go.

My art practice developed separately in parallel, but included creating objects and images of contemplation as well as performance art that has gravitated toward experiences that defy plain description: ecstasy, awe and improvisation. Conditioning myself before one of my live improvisational performances almost always includes meditation. I haven’t applied this rule to sculpting, probably because it’s already there. Meditation is already within sculpting and sculpting is within my meditation.

At that meeting, Julian also referred to the sculpture of Sir Antony Gormley as being inspired by meditation. There is a distinct similarity between these two artists: figures that reflect inward and seamlessly integrate with landscape, figures of dense materials that also dissolve into space. There is a simplicity and ease within these sculptures, but also a challenge. The center is always implied but never pinned down. I believe that we can never completely know what we are, but striving improves us, makes us more whole, and integrates us with others and the world. We will be endlessly looking and sharing what we see.

To learn more about Pacific Northwest Sculptors events, contact us today!

Spatial Relations: Seeing 3D Form in the Void

Humans have a natural ability to see and recognize things. You see something and your brain immediately matches the image to a pattern you’ve seen before. You recognize the object. It’s 3D form. Comprehension is complete. Congratulations. You’ve recognized the object and completely missed the space – the invisible element of the image.

Space is only invisible until you see it. Once seen, it cannot be unseen. The void becomes a thing. It’s real. It’s tangible. It adds another level of comprehension to your experience of the object.

Chas Martin - 3D Form - ambiguity - July 2020 - PNWS

In this 2-dimensional example, the positive and negative spaces are flat. Aristotelian binary logic recognizes two options: white and non-white. Everything that is not positive is summarized as negative. There is form and non-form (aka space). That logic is fine if you’re trying to win an argument. In a 3-dimensional world, it’s a bit more complicated.

Think about the musical equivalent of this argument. There are notes and non-notes. All notes are part of the melody. Everything else is collectively defined as a “rest.” There is much more to music than notes and not notes. Imagine Beethoven’s 9th Symphony without the voids between notes. It would be a continuous stream of occasional repetitions with no punctuation, no cadence, no impact. The rest between notes provides valuable space to comprehend what you just heard, to anticipate what you will hear next, and the opportunity to appreciate the uniqueness of the moment. The frequency and duration of the rests are as important as the notes they separate. Many different notes create a melody. There are many different shapes and sizes to the voids.

Sculpture is a Melody of 3D Form Contained by Spaces.

The voids help you comprehend what you have seen, anticipate what you will see next and the opportunity to appreciate the uniqueness of the moment. Space itself has form. It has as much shape and dimension as the sculpture it surrounds. And, like the sculpture, the space changes shape from each new viewing angle. This void creates an invisible series of forms – a progression of connected experiences that supports and illuminates the visible form. Your attention moves from one space to another in a continuous dance of interest, visual stimulation, a sequence of discoveries.

Shifting your focus to give space the same amount of consideration as the form is a challenge. I recently gave a student the following exercise to help open his eyes. First I had him create an abstract form in clay and place it inside a container. Then I had him fill the container with plaster. When that was cured, I told him to remove the clay and observe the plaster form that remained. Form and space were reversed. The plaster turned invisible space into a tangible form. Once seen, space cannot be unseen. For a sculptor, seeing space as a solid form is a revelation worth pursuing.

To learn more about Pacific Northwest Sculptors events, contact us today!

Ben Sams – A Nearly Forgotten Genius in Modern Ceramic Sculpture

In a remarkable way, Ben Sams had something to do with our recent exhibition at the ArtReach gallery. One of his ceramic sculpture pieces, “Texas Ranger” stood in a side room at the Making Space exhibition. Bob Dale is seeking attention for the work of Ben Sams that happened in the ArtReach gallery. One thing led to another resulting in our group show with the NW Stone Sculptors Assn.

The art world presents a complicated and sometimes confusing environment where significant recognition and fame can be as random and elusive as winning a lottery.

While there are thousands of recognized painters and sculptors internationally, one medium where the number of true geniuses is minimal is that of ceramic sculpture. That may be a result of ceramics perhaps being considered more as a craft than a true art medium. The word ‘ceramics’ almost immediately brings up mental images of pots and tiles rather than credible works of art. However, the medium of clay provides a truly creative artist with an almost unlimited opportunity to express ideas and images.

Ben Sams - Modern Ceramic Sculpture - Nov 2019 - PNWS - 2

Ben Sams - Modern Ceramic Sculpture - Nov 2019 - PNWS - 3

The Ceramic Sculpture Work of Ben Sams

One of the most creative, yet unfortunately nearly forgotten, pioneers in this field was Ben Sams. He came upon the scene in the 1960s and almost immediately created a name for himself as an innovative genius. The ‘60s and ‘70s were a period of political turmoil and questioning of values among the younger generation. Sams could pull together diverse thoughts and ideas into often whimsical ceramic sculptures that could make people laugh. They compelled one to think about some of the statements he was making on the social issues of the day.

Quoting his own description of his work, Sams wrote: “The early sculptural images I made did not reveal if I was pushing reality towards abstraction or abstraction towards reality, and the resolution of my problems always remained visually exciting.”

Influences of Sams’ Ceramic Sculpture

Sams’ heritage had a significant influence on his approach to art. He was born in Texas in 1945, where his father, a Native American from the Walla Walla Tribe, was stationed during WW II. The family then moved to Montana, closer to the roots of his paternal ancestors. Sams began his studies in art at the University of Montana in 1965 under two well-known ceramicists, Rudy Autio and Peter Voulkos. There he learned various techniques and processes which he adapted to his work in ceramic sculpture.

One such process used in printmaking is called collagraphy. It employs pieces and textures from various sources built up onto plates that can then be used to print. While typically used to produce prints on paper or canvas, Sams decided to use the technique to create textures and images in clay. These could then be incorporated into larger pieces to provide backgrounds or segments of the larger story being told in a particular work.

The Evolution of Recognition in Sams’ Work

1967 was the year Sams married his first wife, Dana Boussard. That year, his innovative work began to gain national recognition with numerous exhibitions, including one at the Legion of Honor Museum in San Francisco. That exhibition was sold out. These resulted in commissions from collectors who began to recognize and appreciate his unique talents and styles. Sams continued to create and display exciting ceramic sculpture works from 1967 until 1972 when his life changed somewhat dramatically with a divorce and a move from Montana to the Seattle area. There he tried to balance his creative work and exhibitions with teaching at Highline Community College and later Evergreen State College in Olympia.

He married Cynthia Tasso in 1975 and moved his studio into a large barn on her property northeast of Seattle. There he began to experiment with the chemistry and physics of glazes he could produce to enhance and dramatize elements of his works. In his own words:

“Glazes and glass represent a very separate discipline that must be united to the finalized clay form by means of extreme heat. The development of a glaze or glaze colors involves continuous experimentation into applied chemistry.”

Sustaining his Creative Energy in Ceramic Sculpture

Sams continued to produce unique and notable works for the next three years until shortly after a well-received exhibit in Bellevue, Washington in 1978. He then decided that he needed to take a break from juggling the creation of art and the commercial activities associated with promoting it. By doing so, he left many unfinished works in his studio and moved on to dealing with real estate and studying common law.

Sams returned to his art in 2001 with a new passion. Unfortunately, the following year he died unexpectedly while on a beach walk with his wife and dog on the Washington coast.

While Sams’ long hiatus resulted in his name losing the momentum, reputation, and recognition as a significant pioneer in the world of ceramic arts, his legacy still lives on in his many surviving works valued by collectors, internationally.

Author Zig Lambo is a consultant on sculpture and resource-based investments.

Images courtesy of Robert Dale at: bensamsartist.com

To learn more about Pacific Northwest Sculptors events, contact us today!

This article was reprinted from the Art and Museum magazine spring 2019 issue. Art and Museum Magazine is a publication of Domos Fine Art Advisors of the UK.

Bronze Sculptor Shifts Gears to Explore Collaborative Opportunities

Many PNWS members know me as a bronze sculptor involved exclusively with narrative bronzes. But there is another side bubbling up that wants to be more aggressive about other creative forms.

Before I went full-tilt into using the figure to tell stories and convey emotions I was producing abstract work in all sorts of mediums and various commercial displays that required innovation and involvement in a wide variety of materials and methods. Here are a few projects executed prior to my bronze sculptor days that were both challenging and fun.

I once built a pinball machine that taught science museum visitors how our digestive system works to breakdown food into usable nutrients. A ball (bolus) rolled or bounced through various options to get masticated and swallowed, hopefully without gagging or choking. As the bolus traveled it turned on information about enzymes being released, nutrients being absorbed and chemical processes taking place along with all the bells and sound effects of a traditional pinball. The bolus would churn in the stomach while hopefully avoiding being thrown up – GAME OVER! A convoluted intestinal track would end up in the rectum, waiting for the perfect moment to release. The winner was rewarded by the sound of a flushing toilet!

Harnessing Light as Sculptural Form

Another unusual creative experience was in creating a display that demonstrated how a laser beam could be used to measure movement. Laser light was sent through a fiber, then split in half and sent in opposite directions around a coil of fiber optic cable and then recombined. If the coil was rotated, the two light inputs would get out of phase with each other because the light traveling in the direction of the rotation would have to go a greater distance in the amount of time that it took for the light to go through the coil. Amazingly, this phase shifting can be detected with a light meter and measured to calculate for visitors how far the device was rotated. We built one of these to demonstrate the principle. Three of these devices set up at right angles from each other make up a modern laser gyro. Similar devices are used to orient spacecraft. Our demo model was three feet across while the ones in spacecraft can fit into your closed fist.

When I first moved to Oregon I was hired to build a 5-foot tall face that could blink its eyes among other sculptural things for the Oregon State Pavilion to be placed in the Worlds Fair in Vancouver BC that year. I had the pleasure of working with Michael Curry who was on the same sculpting team as me and who recently hosted a tour of his amazing facility for the ISC conference.

Professional Collaborations with a Bronze Sculptor

The last few years have provided me with the opportunity to work with architects and various builders to design an interesting building titled The Geode It included a 35’ tall spiral staircase, the iconic digital Light Blades on the outside of the Geode, and custom furniture. All of these projects were done with teams of creative people including several from the ranks of PNWS like Matt Scheick and Dave Gonzo who drew up the engineering drawings for the spiral stair from my concept sketches. It was laser cut and welded together in my shop while it was raining indoors (an amazing accomplishment).

The light Blades was created by a bigger team lead by my son Talik and gifted people who have created all sorts of things for Burning Man with us. I first made (with other PNWS members) a bamboo tent structure for a PNWS sculpture event held at the Maryhill Museum of Art in the Columbia Gorge. That inspired a 3,500 square foot bamboo structure for Burning Man years later. It housed a bar, sofa lounge, dance floor, and a giant misting chandelier by my friend, Lloyd Lindley.

Two years later I designed and lead the construction of a Mutant Art Car for Burning Man that carried the Tree of Knowledge, a refugee from the Garden of Eden, to help find a new home that would appreciate truth and freedom. Along with it came a wise, animated snake that could slither, listen, speak, breath smoke, and slide its split tongue out into surprised places (it’s still on display in my Studio).

The Evolution of an Accomplished Bronze Sculptor

That was a long introduction to get to what I hope to explore next. Recent projects in digital and projected light have suggested we may want to cast larger ideas into clear or translucent castable materials. These forms can be projected onto with mapped and animated imagery to give the sculpture additional dimensions of color and movement. So far we have experimented with opaque, castable urethane and clear or dyed epoxy resin. The urethane can be formulated so it can set in a short time. It is possible to hand rotate the molds as urethane set. Epoxy, on the other hand, allows for better control of clarity and colors, but sets too slowly to hand roll as it sets. Epoxy wants to be cast flat. We can bend it, but not pour it into a large mold easily. We just finished building a 9 ft. by 6 ft. chandelier for the main room in the Studio from precast flat pieces of epoxy resin.

I don’t know where this journey leads but we’re looking for collaborators, ideas, and skills to join us. Combining skills can greatly expand our options for making amazing things. We invite you to continue the conversation.

To learn more about Pacific Northwest Sculptors events, contact us today!

Local Sculptors Attend 29th International Sculpture Center Conference

The Multifaceted Maker: An incredible adventure into the work and minds of both International and local sculptors!

Alisa Looney

Although I have been an ISC Member for many years, I had the privilege of attending my first ISC Conference this October, in Portland, Oregon! As a local sculptor, it was incredible to meet so many sculptors from all over the country and the world. There were many memorable moments, and I will attempt to recount a few here for those of you who could not attend.

First, I would like to thank ISC Director Johannah Hutchison, Conference & Events Manager, Jennifer Galarza, and Conference & Events Coordinator Alissa Maldonado for bringing the conference to Portland! Johanna mentioned in her address that Julian Voss-Andreae suggested (four years in a row) that she bring the conference to Portland. We appreciate you so much, Julian! Many of our PNWS members met with Johanna and Jennifer prior to their decision, and all our efforts paid off! Thank you all!

Local Sculptors Offer Studio Tours

My conference experience began with the Michael Curry Design – Studio tour. What an incredible creator, space, company, and process! No photos were allowed, but our gracious host Michael Curry took us on a tour of his complex processes and studios and explained how he and his team developed new technologies over many years to make lightweight carbon fiber costumes with thin walls that many dancers and performers depend on to move freely. With over 50 employed artists and engineers, the magic that happens here is truly awe-inspiring. Michael shared his golden minute rule: when coming up with an idea… close your eyes and look inside, follow your instincts, follow your gut, and explore these ideas with your sketchbook, then do the research later (if needed). Love that!!

Next up: Leland Iron Works Tour: Upon arriving, Lee Kelly and his daughter Kassandra graciously led us to Lee’s studio, which was originally converted from a dairy barn in 1963 and shared with his late wife, Bonnie Bronson, also an accomplished artist. It was truly an honor to sit down with Lee by his crackling wood stove and visit for a few minutes. After appreciating him for his brilliant work, I was pleased to find out that he was born in Riggins, Idaho, and with his kind voice, he spoke of how he rode on horseback to pick up firefighters along the Salmon River in his youth. We then followed a meandering path through many of his stunning monumental works as well as his many maquettes strategically placed throughout the grounds. One path led to a gallery where Randall Davis shared more of Lee’s small sculptures, as well as Bonnie’s wall constructions and enamel works. It was truly a highlight to see the work of these brilliant artists and their fertile ground. It was a dream come true for me!

Local Sculptors Showcase Their Talent Alongside Students

Later that evening we gathered at PNCA for the opening reception of the Little Sculpture Exhibit of work by conference attendees. Many local sculptors and PNWS members were exhibiting works that fit within the 8 x 8 x 8-inch requirement, including Sue Quast, Chas Martin, Julian Voss-Andreae, Alisa Looney, Jessica Stroia, and Dan Good. This event was open to the public so many of our local supporters came to see the exhibit as well. Following this event, we celebrated over dinner with new and old friends!

Panel Discussions Covered A Range of Topics

The Panels began on Sunday, with the first one on Public Art: Looking at its impact and benefits in livable cities. Panelist Ming Cheung shared her research on how Artistic Integrity and Human Interaction merge to create memorable experiences. Ronnie Van Hout shared his monumental work, which was created by scanning a 3-D image of his son walking, and some of the reactions to it, positive and negative.

The next panel: Voyage to the virtual – Sculpture in the post-digital age. I was fascinated by the speaker Michael Rees who said “We can do something special with our art, extend ourselves beyond time and space, inhabit something so thoroughly with this work.” He talked about how 3D software expresses math best, the universal language of nature. I found his philosophy interesting, how the spirit of art engages and speculates reality. Sophie Kahn also shared her work and process and talked about how she liked the bits of data or “errors” in a 3D scan, and used them as part of her final work, finding these patterns pleasing. Jose Luis Garcia shared his multi-faceted process which originated from an architectural background. He found it intriguing to ask: where is floor, wall, ceiling, and shared samples of moving these around to create sculptural forms. Jose writes software frameworks that help people expand their possibilities using these creative tools. He has used robots to do the heavy lifting, and then adds back in the grace of the human hand. Jose also shared a video: The Digital Touch / Robotic Marble sculpting, short documentary – bit.ly/the-digital-touch

Local Sculptors Exhibit Works at ArtReach Gallery in Downtown Portland

I took a short walk across the park blocks to ArtReach Gallery and our very own exhibit, Making Space! Many thanks to Chas and his team for putting this show together with Curator, Sheldon Hurst. It was a stunning exhibit with so many gorgeous works by local sculptors. I felt that combining artists from the two sculpture groups PNWS and the Stone Sculptors Assn. created an excellent result that captured the creativity, craftsmanship, and integrity of sculptors in the Northwest. Many conference attendees whom I had invited reflected back to me that they attended the show and enjoyed it very much. They felt the quality of work was superb, so well done everyone!!!!

PNCA Facility Hosts Faculty Gallery Exhibit

That evening, the reception at the PNCA Glass building was another delight. Formerly the home of Uroboros Glass, this building has been converted into a maker space of an artist’s dream. Professor David Eckard, PNCA Head of Sculpture gave us a wonderful tour of this space. He mentioned it has been in a state of transformation for this past year. It is incredible, with studios available for a variety of sculptural mediums: wood, clay, and metal. The facility recently added enameling kilns and additional tools from OCAC, giving students and teachers from OCAC a place to finish the programs they started there. The gallery at the entrance exhibited works by BFA Faculty. The center of the building was off-limits, where the privacy of graduate studios was respected.

Unfortunately, I was unable to attend the panel on Monday. It was titled: Contemporary Public Art Sculpture in China, with presenters Devin Lawrence Field, Shen Lieye, and Dong Shubing. I heard from others who raved about it. I was happy to meet our guests from China and receive a book of Shen Lieye’s incredible work from Devin and Alissa later that day.

Next Panel: Deconstructing the Gender Binary: Gender and LGBTQ+ Equality within 3-D Making Environments, which highlighted the struggles and breakthroughs within the realm of gender. One thing I took away was this: It is respectful to say “I identify as (she, he, they, etc)” to help others feel comfortable in saying how they identify. This breaks the ice and allows everyone to feel respected.

Local Sculptors Attend ART SLAM Event

A friend encouraged me to sign up for an ART SLAM and I took the challenge. We had the option of talking for 10 minutes or talking for 5 and asking for critique for the remainder of the time. It was an inspiring experience to both share my work and listen to other artists present theirs. It thrilled me that two of the local sculptors that presented were also PNWS members: Michele Collier and Micajah Bienvenu. Each gave wonderful presentations.

The Panel: Indigenous Strategies for Multimedia Intercultural Collaborations was also inspiring and was entralled by the work of Lyonel Grant.

One quote that I found inspiring, “Where there’s artistic excellence, there’s human dignity” –Maori saying.

PNWS Members Host ISC Event

Next up: Party at Eichinger Sculpture Studio! Many of our PNWS Members attended as well as ISC conference attendees. Marty’s studio and gallery are in The Geode, where conference attendees and the local community could relax and connect. Touring this amazing space and seeing the work of four local artists was great fun. Thank you, Marty, your party was a blast!

Panel Discusses Large Scale Art Installations

On Tuesday, I attended a Panel: Large scale Art Sculpture, Community, Learning, Teaching, and the Life of Public Art. The presenters were Selinda Martinez, Peter Hudson, Alireza Lahijanian, Margaret Long, Crimson Rose, and Matthew Schultz. Each of them is affiliated with Creators of Burning Man and Public Sculptures. This presentation was incredible. The artists, sculptors, and engineers presented how they work together to create monumental fire sculptures. The group also shared how each creation is moved and reassembled on the playa of the Black Rock Desert. They then described how they reconfigure them for other public presentations. Each presented their work with a contagious enthusiasm for the moment of surprise when they see a sculpture. I was giddy with excitement after seeing how they work together and pushed the boundaries of sculpture and fire. Of course, I had to ask the question that was in my heart, “What if we switch fire for seeds?” Peter answered with “I think you should make a proposal!” I may take that challenge. Later that day, I enjoyed having lunch with several of the presenters, along with Julian. I found this group of artists to exude pure joy!

PSU Students Awarded For Achievement

Finally, I finished the conference by attending the closing reception and the Student Achievement Awards Exhibition at PSU Littman Gallery. It was inspiring to see ISC give these students a head start on their careers by recognizing them for their work. We wrapped up the evening with a walk to the MFA Open Studio Event. We were inspired by the ingenuity of students pushing boundaries in many forms of art. Truly grateful!

To learn more about Pacific Northwest Sculptors events, contact us today!

International Sculpture Conference comes to Portland

We, the members of the Pacific Northwest Sculptors Association, wish to extend a warm welcome to all those attending the 29th International Sculpture Conference. You will find Portland and the NW in general to be an intensely creative place. The winters are mild, the summers are delightful and the scenery magnificent. It is a good place to live and a wonderful place to be a sculptor.

You will find plenty of evidence to support that idea if you partake in any of the field trips arranged by the ISC.

I would highly recommend visiting the Micheal Curry Studios where you will find very large scale puppetry and astounding set designs for stage and film.

The Form 3D Foundry will introduce you to the state of the art techniques which art serving to advance the art of sculpture in surprising ways.

Echinger Studios is having a reception preceding the keynote address at Reed College on Monday the 14th at 3:30 pm. There you can meet many of our local sculptors. Marty Echinger himself is one of our founding members and has a wonderful studio.

The International Sculpture Conference brings Oregon Sculptor groups together

Finally our group, Pacific NW Sculptors Assn. and the NW Stone Sculptors Assn. have joined forces at the ArtReach gallery to present a joint exhibition. It will run concurrently with the conference. This is a juried show with outstanding works from both groups. The location could not be better as it is directly across the Park Blocks from the Portland Art Museum. The gallery space is on the lower floor of the historic First Congregational Church. In fact, the first art exhibition in Portland was held at this location in 1874.

To learn more about Pacific Northwest Sculptors events, contact us today!