Carvings in antique wood best describes my current work. I find early rope beds a century or two old, in pine, poplar or hard wood. Sometimes an old chest that looks to have a surface to suit me goes under the chisel. Most is bought in falling apart condition. Old furniture holds time. It becomes the medium to work in thus the new carving remains old.
I first started carving woodcuts as a printmaker 40 years ago. Finding an affinity to the wood carving I pursued it to an end in itself. It gives weight and legitimacy to the creations I bring to it. The wood offers a place for time to become a factor in the end product. It’s liner application appealing.
The blue lobster. Ghost like when pulled from the dark bottom of the ocean is a rare connection between worlds. My work is spiritual at its core. When I’m creating art, be it painting, drawing or carving I’m constantly seeking truth. I can’t really explain what that is. I know when an artwork is successful it should whisper secrets beyond it’s obvious conclusion. An object greater than its parts. Perpetual. Emitting energy. Hinting but not telling.
In the last few years the summer art shows have proven to be a good venue for my carvings. When my carvings are hung together as a group they resonate as a language. I enjoy the public reaction to the work and the discourse that follows. My present summer and fall shows include Portland Fine Craft Show, Brunswick outdoor Arts Festival, Belfast Art in the Park, Common Ground Fair and UpCountry Artist's Sugarloaf Homecoming Art Show.
My studio is in the barn my grandmothers grandparents built in 1888. The barn was vibrant with life. Milking was done twice a day and always by hand. Cats purring, roosters crowing hens laying and spiders to eat the flies. Hay stacked to the roof. Today it has been renovated into studio and gallery space open by appointment. It holds 40 years of art making as well as materials and oddities found along the way. Anyone is welcome.