Julian Voss-Andreae

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.

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Portland Sculptor Julian Voss-Andreae at Georgia Tech

A larger-than-life bronze sculpture of a female form by Portland sculptor and PNWS board member Julian Voss-Andreae was installed recently on the campus of the Georgia Institute of Technology in Atlanta.

The sculpture is notable not only for its artistic merit but also because, according to Voss-Andreae, it was “fully 3-D printed” over about 10,000 hours of printing time at his Portland studio. Voss-Andrea employed his battalion of LulzBot TAZ 3-D printers to construct more than 100 pieces that were assembled into the mold. The mold parts are built up by the printers using a filament thread known as PLA (polylactic acid, a biodegradable thermoplastic).

An article by Bridget Butler Millsaps in the June 23rd edition of the online journal 3DPrint.com quoted the sculptor about part of his attraction to 3-D technology. “The main benefit to me is that I am now able to create life-size bronze sculptures for a price that allows experimentation.”

Millsaps relied on Voss-Andreae’s “3-D team” to explain his casting and post-casting processes.

The completed PLA sections of the mold are repeatedly dipped in a ceramic bath until they are fully coated to an appropriate thickness, after which the PLA inside is burned out, leaving a negative mold for the bronze. When the casting is complete, the ceramic mold is removed and the bronze parts are cleaned assembled, and welded. Millsaps described the last process as “a huge and complicated 3-D puzzle.”

The Many Uses Of 3D Printing

Voss-Andreae told Millsaps that his 3-D printers get a lot of use. Besides creating molds, he uses them to print maquettes and parts of sculptures for use in the planning process. He even uses the machines to print replacement parts for the 3-D printers themselves. LulzBot heal thyself.

The new sculpture was installed in a planted area outside the Engineered Biosystems Building at Georgia Tech. It is designed to allow plants to grow around and through it.

In other news about Voss-Andreae, he has recently announced a winner of a 2017 CODA Award. The internationally acclaimed awards celebrate design projects that most successfully integrate commissioned art into interior, architectural, or public spaces.

Voss-Andreae was honored for his dual sculpture installation entitled Spannungsfeld and installed outside the new Physics and Nanotechnology Building at the University of Minnesota in Minneapolis-St. Paul. The two sculptures, a woman and a man kneeling and facing one another, are each 10 feet tall.

Recognition of Spannungsfeld

The CODA website explains the work’s title thusly: “The German title of the installation (literally “tension field”) originated in physics but is used in contemporary German almost exclusively in a metaphorical sense, implying a dynamic tension, often between polar opposites, that permeates everything in its vicinity.

The CODAawards are presented each year by CODAWORX, a global online community that showcases and celebrates design projects featuring commissioned artwork in interior and architectural spaces. The organization is based in Madison, Wisconsin.

See more images of the work and learn more about CODAWORX at this address online. Learn more about Portland sculptor Voss-Andreae online at http://julianvossandreae.com.

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Portland Celebrates International Sculpture Day 2017

Pacific Northwest Sculptors’ second annual celebration of International Sculpture Day on April 21 and 22 in Portland was an unqualified success, judging from comments after the event by its organizers, participants and guests.

Hosted at three neighboring venues in Southeast Portland’s Sellwood District and billed as “ International Sculpture Day PDX 2017, 3D Alchemy: Fusing Intellect, Intuition and Magic Into Sculpture,” the event featured leading local sculptors talking about their work, live demonstrations of sculptors at work, a tour of one sculptor’s cutting-edge, high-tech studio, an exhibit of sculptures by local artists, lots of good food and drink, a tango demonstration and, to wrap it all up, a dance party with live music.

PNWS member Alisa Looney was a driving force behind the event. It was her presentation at a members’ meeting at Marylhurst University near Lake Oswego about two years ago that led PNWS to commit to joining the celebration, observed around the world each April for the last three years.

Summing up this year’s event she said, “My feeling overall was that it was a wonderful event for all who attended. Our entire team was incredible, professional and dependable. Everyone really showed up and made sculpture to the public in a fresh way.”

Everyone on the organizing team and the other artists who were featured in the event worked hard and deserve considerable gratitude for their selfless contribution.

PNWS Members Create International Sculpture Day

PNWS President George Heath singled out Looney for her imagination and commitment to making Portland a part of this observance. He wrote to her after the recent event, “As for you, Wow! That was amazing. I rarely, if ever, have seen anybody pull off something like that with such aplomb. Nicely done.”

Looney said, “I was truly honored to receive this compliment on behalf of our team,” adding, “it would not have been possible to pull this off without even one of our amazing team members, artists, hosts, sponsors, volunteers and guests.”

Other members of the International Sculpture Day organizing team, all PNWS members, were Julian Voss-Andreae, Jennifer Corio, Dave Gonzo, Sam Hingston, and Sue Quast. Some of the planners were also featured artists at the event. Voss-Andreae opened his studio to the public where he led a tour and explained how he blends art and high-tech; he also was a featured speaker, along with Hingston, at the artist talks.

The other featured speakers were Chayo Wilson and Bill Leigh. Corio emceed the artist talks. Gonzo demonstrated sculptural welding techniques alongside fellow PNWS member Andy Kennedy who demonstrated ceramic work. Looney singled out Susan Schimelfining as one volunteer “who has not been mentioned enough.” Looney credited Schimelfining for planning and preparing the food available at various venues. “It was beautifully displayed and delicious as well,” said Looney. “She actually cooked the smoked chicken herself and went to great lengths to make it all work with the schedule of replenishing for each event.”

SE Portland Businesses Host Artists and Guests for International Sculpture Day

The event was sited at three locations in close proximity to one another along Southeast 17th Avenue: Anna Daedalus and Kerry Davis’s Roll-Up Photo Studio + Gallery, which was the venue of last year’s celebration, Voss-Andreae’s new studio, and Rachel Lidskog-Lim’s Dance With Joy Studios. Groups of artists and guests migrated together from one location to the next throughout the evening. Hingston thought the geography of the event added to its appeal. “I thought it was a really fun and engaging event.

The three locations gave the evening a lot of variety, and I thought having the group travel together brought a bit of adventure to the whole thing,” he said. He also had praise for his fellow planners. “It was a great experience working with the planning committee as well as the many people who helped to make it all happen.

It took a lot of effort from a lot of people, but it was certainly well worth it.” Corio was pleased with the outcome as well. “All and all, a smashing success! I am proud to be part of the planning team,” she said. She thought the audience at the artist presentations seemed “laid back and really interested in hearing what the artists had to say.” She said they asked “good questions” and with “a fair bit of laughter,” which, she added, made her job as emcee easier.

International Sculpture Day a Success

Corio summarized the event. “I felt a fun, joyful vibe throughout the evening. The show at Roll-Up (Gallery) was full of folks looking at art and enjoying themselves.” While it was difficult to count overall attendance at the event owing to its being spread out across three venues, it was possible to get a good count of the people attending the artist talks.

Corio and Looney agreed the number there was about 75 with a few others gathered just outside the door to the room where food and beverages were available. Paul Haist, the newsletter editor, who was focused on watching and photographing what was going on, though overall attendance could not be much less than about 200. The celebration would not have been possible without the generous support of many in the community including sponsors Cobalt Designworks, Dance With Joy Studios, Form 3D Foundry, Bill Leigh, Roll-Up Photo Studio + Gallery, the International Sculpture Center in Hamilton, N.J. (publishers of Sculpture Magazine) and Julian Voss-Andreae.

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