It was fun and an honor to be included in the Southern Living 2023 Idea House with a sculpture located in the living room. See video inside link and note my artwork starting about 35 seconds. Enjoy! Tour the 2023 Southern Living Idea House
"Headwaters" Commission
This large, outdoor sculpture came from the headwaters of Richland Creek. The stone’s original color was the dark exterior. I used a dremel to remove the entire surface except for the stripe in the middle to show the contrast of the original and reworked stone. The sculpture was a commission piece that is located on a large property in Nashville.
The Craft of Mixed Media
Mixed media has a real craft to it. There are so many small processes that occur in a deliberate way to make the artwork happen. This is a piece in which I had to cover the entire canvas with a layer of commercial-grade glue. The craft includes minute steps such as how thick to cut the glue applicator to determine the correct flow of glue onto the canvas, which tool to use to spread the glue, how to get bubbles out, and how to navigate the edges, how to sift the driftwood after shredding, how to apply the larger driftwood pieces first and then fill in with driftwood dust. When you see a piece of art, be curious and look closely from the angle of the craft that was required to complete the artwork.
Gallery Show
Participating in a gallery show is exciting but changes the vibe of the process. Going from making art in a pace and sequence that flows from within, to making art for an event with a date and an audience has a different feeling. When the show is over, it takes a while to get back into the flow of making art from within.
Driftwood
I have always used stone in my art historically, from the beginning with limestone sculptures to the more recent canvas pieces with different types and colors of crushed stone. There is something about the natural aspect of the stone as well as the permanence. I enjoy using the natural colors to create combinations that work well with different oil paint colors. I thought recently of what other natural materials I could use, especially ones that come from the places I appreciate and driftwood from Lake Michigan came to mind. I have thought about ways to use driftwood for sculptures in the past but had never thought of using it on canvas.
At first, I tried smashing pieces of dried driftwood with the same method I used for stones, but it simply flattened out and would not splinter or shred as required to get to the correct consistency to apply to a canvas. I then moved to trying to shred the wood in a blender which worked perfectly. The sticks have to be broken and the blender can only handle a few at a time but it quickly shreds the wood into a mixed consistency. Similar to crushed stones, I then sift the wood into three different sizes with the smallest size just a dust and the largest size as shredded pieces less than half an inch in length.
Using the same commercial grade glue process that works with stones, I do the same for attaching the wood to an oil base on canvas. The largest pieces go on first and create a base layer that covers as much as possible. Next the medium pieces fill in between the large pieces, and finally the dust is sprinkled over the entire wood area. I use a pressing process to secure as much as possible. Once the glue dries, I flip the entire canvas to see how much of the wood comes off and typically repeat it two or three times to get a secure base of wood. The result is a combination of natural, yet contemporary.
Outdoor Installation 2
After almost a year of work, I finished this large piece title “Imperfections”. The transformation of the stone involved removing the entire outer surface inch by inch with an electric Dremel. There is no shortcut way to do this other than one small section at a time. Moving and turning the stone without large scale equipment required the use of logs, straw bails, a car jack, and a hand winch. I used a gas-powered industrial coring device with a two-foot coring bit to drill a hole 20 inches deep into the bottom of the stone. The stone is “set” on a five foot steel rod that goes through the center of a three foot square steel plate. The entire base is mounted in eighteen cubic feet of concrete. Installing the stone required a crane mounted on the back of a large truck.
Outdoor installation
I discovered this massive stone in a creek bed about a year ago and have been thinking about using it for a large outdoor installation in a garden. The stone is five feet tall and three feet wide and probably weighs nearly one thousand pounds. The extraction process involved two, twelve-foot 2x6’ boards, a heavy-duty tow strap, and a four wheel drive vehicle to pull it out of the creek bed.
Canvas
I have completed my first piece on canvas. For this work, I took a single stone and bashed it into pieces and then sorted the pieces into smaller sizes from dust to pebbles. I painted the base of the canvas white and then, using commercial-grade adhesive, I attached the pieces on the canvas in a way that represents waves.
Stone source - wall
This stone wall guards the edge of a pasture and the woods behind it. I have known this wall all my life but have no history of it, have no knowledge of who assembled it and for what purpose. As such, I take much caution and consideration when selecting a stone from this wall to use as a sculpture. As the wall now is a piece of art itself, I must honor the history and purpose of this wall with my work.
Studio
A common question I get is “Where is your studio?”. Due to the large amount of dust that the process creates, I have to work outdoors. However, with ear plugs, a breathing mask, and safety glasses, I end up going inside my head while I am working and forget I am even outdoors. Nothing is in front of me except the few inches of stone on which I am working.
Sequence
Someone recently asked me if I decide how to sculpt a stone or the meaning that comes with the final piece. Both seem to happen in parallel. Usually one stone and story occur together. I then take that story and continue it with many other works and just let it go. Some of the pieces under the same story end up looking similar and some vastly different.
Stone source - creek bed
Finding stones to work with takes a lot of time and is one of the most enjoyable parts of sculpting. This stream in Robertson County is one of my favorite sources. Inside the creek bed are many different types of stones and with a lot of searching, a rare one can be found with deep watermarks which makes for a beautiful contrast once the external layer has been removed.