Looking at Christine Kaiser’s work (at the ACC show) I somehow felt like I was getting a glimpse of the artist’s psyche and imagination road map.
8″ x 7.25″ x 3″
painted wood, pencil drawing graphite, lid of antique cigar box
Each of the sculptures begins as a plank of Basswood or Poplar that is cut, stacked, shaped and carved using a bandsaw, rotary tool and sander.
6″ x 3.5″ x 2″
painted wood, graphite, pencil drawing
Kaiser then paints the wood shapes, adding elements of mixed media and the final touch – simple graphite drawings that tug at some familiar feeling held inside long ago.
“Part of their charm is the tension between sweet and not so sweet. I use elements of cartoons, animation stills, dreams , and other references to weave my stories. To root the pieces in the world I use a fairly classical visual aesthetic.” Christine Kaiser
9″ x 6.75″ x 2.25″
painted wood, pencil drawing, wire, graphite, antique cigar box bottom
It’s Just Like Going To Sleep
See more of Kaiser’s sculptures here.
Read an article about the artist here (and learn about the kind of art she made early on in her career).
Part of my process as I write the posts for DAM is to look for an artist’s words: words that add another layer of meaning to the work; words that reveal something about the artist’s life, philosophy or inspiration; words that explain or describe. Their words.
[nonmember]This archived post is for Members Only. Click here to become a member or to get a one day pass. If you are a member, please login to view the post. [/nonmember] [private_archives]Sometimes I come across an artist whose words move me as much as the art. Christian Burchard is an example of an artist whose words and wood share the same powerful, graceful beauty.
Song Of The Bones
“I have been working with wood for most of my life. We are comfortable with each other, have a close relationship and I value the connection immensely. I am curious what is inside, how it works. I am always looking for the gifts it has to offer.”
“Like a lot of my other work, I use bleach to expose what is within. I compare this to Black and White photography: I remove most of the color to simplify, to focus on the structure and the undulations and textures that occurred through the drying process. Sometimes it feels obvious how a particular panel wants to be used, at other times it takes me a while to read it, feel it, ask what it wants from me, so that I can do my part.”
“I allow my relationships and my need for connection to flow into and inform the work. It is different now than it was ten years ago. There used to be lot of fear in my work, a rush to succeed and a fear of failing. Life has changed and I have slowed down, and my work has gotten simpler and quieter. The difference is that I am not looking for something new all the time. I have gained a deeper understanding of the wood that I am using, there is more breadth in our relationship. I have learned to trust the process, to give it the time and confidence it needs and deserves. That in turn is stretching my creative abilities, strongly affecting me and the work.”
At times I am awed by its beauty and the story of its history, the tracks that the passing of time have left. I am driven to expose this beauty, to make it shine. At other times I am more fascinated with its inner structure, its more subtle form and spirit.”
“To be working this closely with nature is a blessing, but also often overwhelming. It is a struggle. At times I find myself needing to put my foot down, to control the outcome of my work, only to find that I trampled something beautiful. At other times I feel overwhelmed, scared: what is needed of me here, how can I match the beauty of this living thing? How am I to know when to be loud and when to be quiet…? Maybe this stuff just matches my personality, something to wrestle with, something that stirs my imagination, something to control. That nature versus man made thing, that struggle, that tension, that conflict. My work is about my relationship with nature, my desire to connect with it on a deep level. Trying to get under its skin and be part of it. Searching, finding something sacred, adding my touch, wrestling with it. Showing the beauty of it under a different light: exposing, transforming. I make things out of a deep urge to create and out of a driving curiosity. I need to do it. I don’t really have a choice in the matter.”
Humble Beginnings of a Literary Dynasty more books here
“I do take a lot of chances and I fail a lot. Many ideas just don’t turn out after all. I burn a lot of my work. It can feel at times as if I was holding a whole lot of strings and am weaving them together. I push and pull till it sings. And I am learning to ask more of the right questions, to set things in motion, set possibilities in motion. At times I am even patient!”
Trees uprooted by storms continue their journey on this earth through the skilled hands of sculptor Chad Awalt.
Equipped with degrees in anatomy and physiology and woodcarving, Awalt sculpts life size human figures from the raw wood, many featuring negative spaces that suggest energy and movement. He expertly highlights the individual markings of each tree, reminding the viewer that these markings show every event the tree has experienced over it’s lifetime…perhaps like the bodies we inhabit?
Euryte, ambrosia, maple
“Knowledge is an important part of art. An artist is trying to express an idea through visual means and must have an understanding of the physical world and how human perception works to have any success at communicating the message being expressed in the art. I find that there is a rich history in the work of artists who came before me who have demonstrated these skills. I am always trying to further my reach of artistic expression by learning from the past and understanding.” Chad Awalt
Lares II, ash
“I want there to be a sense of energy in how the negative space flows around the form. I feel this gives the work a sense of motion and energy that helps bring (it) to life. I like to think . . . that if you watch the piece for a while, it might move.” Chad Awalt
Sweeping Cloud II, ash
” I believe the fundamental essence of wood allows the human figure to be demonstrated as a perfect form of nature, so expressive in its subtleties and gesture.” Chad Awalt