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Carol Rosenstein Gold : Celebration of Life Event

12/9/2022

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The family has requested we share this event with the artworld, please attend if you are able.
​John will be speaking on behalf of the National Sculptors' Guild and Columbine Gallery.  

Celebration of Life for Carol Gold
January 28, 2023, 11 a.m. at the Pavilion in Fairfax, California

The Pavilion is located at: 142 Bolinas Road, Fairfax CA 94930
The family has requested we share this event with the artworld, please attend if you are able. ​John will be speaking on behalf of the National Sculptors' Guild and Columbine Gallery.    Celebration of Life for Carol Gold January 28, 2023, 11 a.m. at the Pavillion in Fairfax, California The family requests that in lieu of flowers, donations are made in Carol’s honor to Democracy Now! KPFA, The Sierra Club, the Marin Land Trust or Planned Parenthood.  click here to read our other posts if you would like to learn more about Carol.
Carol Gold working on "Time" in 2010
The family requests that in lieu of flowers, donations are made in Carol’s honor to Democracy Now! KPFA, The Sierra Club, the Marin Land Trust or Planned Parenthood.

click here to read our other posts if you would like to learn more about Carol.
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Carol Rosenstein Gold, 1937 - 2022

8/18/2022

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click here to learn about the Celebration of Life Event, January 28, 2023
Artist Carol Gold, It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,

It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel, "The hole she has left is huge." This is true for us on a personal level, as much as it is, a loss to the  art community at large.

Over the past thirty years, Fairfax, California artist, Carol Gold's work has been widely exhibited in the U.S. and Canada. Her sculpture has received numerous accolades at national exhibitions including the John Cavanaugh Memorial Award from the National Sculpture Society and multiple feature articles in renowned publications.

Carol has been a fellow with the National Sculptors' Guild since 1996. With our design team, the prolific sculptor placed hundreds of smaller works and dozens of public art commissions. Each monumental placement promote a sense of pride and community cohesion where they are installed 

Early on we placed a jovial depiction of two figures in a sort of kite-like dance called "Wind" in Coos-Bay, Oregon.

​Another vibrant sculpture "Fiesta" was first placed at the pedestrian entry to the William Jefferson Clinton Presidential Library. This sculpture has since also been added to the permanent collections of the city's of Cerritos, California and Loveland, Colorado. 

Her monumental "Story Teller" has greeted visitors to the Whittwood Branch Library in Whittier, CA since 2007. This exuberant figure brings their narrative to life; stone benches provide a spot for visitors to sit and read, or listen to library orators. 

"Conversation" has been placed in Paramount, California and Boulder, Colorado where two figures face each other, connecting through thoughtful discussion. And the bronze figures in "Communion" take in the view and create a quiet area in a natural space of a Northern Colorado residential park for visitors to take a rest from the trail.

In 2010, her 13-foot tall bronze and stainless steel sculpture, "Time" was installed at North Central Michigan College in Petoskey, MI. This quickly became a favorite “photo op” destination for students and visitors to the campus. Additional castings were later added to the City's of Bend, Oregon and Loveland, Colorado.

Perhaps the least expected monument is "Belle", a larger-than-life sized Holstein cow commissioned by the City of Bellflower, CA as a nod to their start as a dairy-producing town. Since Gold grew up on a dairy farm in western Massachusetts, this subject was actually not a far stretch for her; she annually included an animal sculpture or two in her portfolio of small works. 

Her 14-foot tall sculpture "Infinite Dance" was added to the Town of Pittsfield, MA in the town’s central common, the heart of the community; followed by placements in Little Rock, Arkansas and her final installation in Downey, California. This is perhaps the closest to a self-portrait of the monuments - depicting a figure dancing joyfully on the top of a stainless steel ring. Carol was both a serious and studious person, she stayed current with politics and social issues, but that glint in her eye as she looks up at you (for most of us) showed her wisdom about the balance of life; to sometimes set all that aside and move to the music.

We are so grateful for the time we have known and worked with Carol Gold to share her creative energy and vision; her artistic legacy will contribute for generations to come.  - Alyson and John Kinkade, National Sculptors' Guild

It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
It saddens us to share that Carol Gold passed away August 18, 2022. Her daughter's words embody the loss we all feel,
The family requests that in lieu of flowers, donations are made in Carol’s honor to Democracy Now! KPFA, The Sierra Club, the Marin Land Trust or Planned Parenthood.
Carol Rosenstein Gold Obituary
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Finalists named in bid to sculpt Daisy Gatson Bates, Johnny Cash statues for Capitol

2/3/2021

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The National Sculptors' Guild design team is so thrilled and honored to be finalists for Arkansas’ search for sculptors for its upcoming contribution to the National Statuary Hall. We have Jane DeDecker as a finalist for the Daisy Gatson Bates portrait, and Craig Campbell is a finalist for the Johnny Cash portrait. Both artists will be hard at work on the next phase of the process as we will be proposing concepts in the coming months.
read the article by Rachel Herzog for more info: https://www.arkansasonline.com/.../finalists-named-in.../
We are so thrilled and honored to be finalists for Arkansas’ search for sculptors for its upcoming contribution to the National Statuary Hall. We have Jane DeDecker as a finalist for the Daisy Gatson Bates portrait, and Craig Campbell is a finalist for the Johnny Cash portrait. Both artists will be hard at work on the next phase of the process as we will be proposing concepts in the coming months. https://www.arkansasonline.com/.../finalists-named-in.../
NSG Fellow Jane DeDecker with some of her recent historic portraits as part of the Women's Suffrage Movement Monument slated for Washington, DC.
We are so thrilled and honored to be finalists for Arkansas’ search for sculptors for its upcoming contribution to the National Statuary Hall. We have Jane DeDecker as a finalist for the Daisy Gatson Bates portrait, and Craig Campbell is a finalist for the Johnny Cash portrait. Both artists will be hard at work on the next phase of the process as we will be proposing concepts in the coming months. https://www.arkansasonline.com/.../finalists-named-in.../
NSG Associate Craig Campbell working on monuments in his studio.
The National Sculptors' Guild design team is so thrilled and honored to be finalists for Arkansas’ search for sculptors for its upcoming contribution to the National Statuary Hall. We have Jane DeDecker as a finalist for the Daisy Gatson Bates portrait, and Craig Campbell is a finalist for the Johnny Cash portrait. Both artists will be hard at work on the next phase of the process as we will be proposing concepts in the coming months. read the article by Rachel Herzog for more infor: https://www.arkansasonline.com/.../finalists-named-in.../ #Finalist #JaneDeDecker #CraigCampbell #NSG #Arkansas #Portraits #NationalStatuaryHall #FingersCrossed
Daisy Lee Bates and Johnny Cash to be commemorated in the National Statuary Hall by one of three finalists each, including Jane DeDecker and Craig Campbell, Fingers crossed we get to honor these extraordinary individuals!
#Finalist #JaneDeDecker #CraigCampbell #NSG #Arkansas #Portraits #NationalStatuaryHall #FingersCrossed
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Newly Elected NSG Associate Craig Campbell

6/1/2020

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The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio. Shop his artwork online  Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig
The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio and are eager to place some fantastic public art with Craig.

Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig

The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio. Shop his artwork online

Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig
The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio. Shop his artwork online

Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig
The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio. Shop his artwork online

Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig
The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio. Shop his artwork online

Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig
The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio. Shop his artwork online

Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig
The National Sculptors' Guild Fellows have elected Craig Campbell as an Associate Member, His work is expressive and covers the gamut of subjects from strong and serious, to playful and imaginative; figurative or wildlife. We can't wait to see what new creations come from his studio. Shop his artwork online

Craig Campbell began sculpting more than 25 years ago and received his BFA in sculpture  from Wichita State University. To further his  goal to create figurative and representational  work, he began a rigorous program of self-study in the areas of human and animal anatomy,  movement, character, and proportion. He has created work for both commercial clients and fine art galleries, and his work has been commissioned by zoos and theme companies, toy companies, and the film industry, including  work for The Hobbit, Elysium and Mad Max. He  was a featured artist in the HISTORY channel’s  “Monument Guys” TV series. ​ learn more about Craig
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Michael  Warrick named Arkansas Living Treasure

3/24/2020

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We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.  “Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”  Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.  Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV. Warrick also is finishing up an 18-foot orange tree sculpture, complete with gold leaf, that will be delivered to California.  Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.  He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.  Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.  “I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”  Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.”   Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.  “Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”  Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.  Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV. Warrick also is finishing up an 18-foot orange tree sculpture, complete with gold leaf, that will be delivered to California.  Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.  He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.  Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.  “I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”  Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.”   Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.  “Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”  Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.  Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV. Warrick also is finishing up an 18-foot orange tree sculpture, complete with gold leaf, that will be delivered to California.  Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.  He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.  Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.  “I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”  Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.”   Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.  “Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”  Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.  Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV. Warrick also is finishing up an 18-foot orange tree sculpture, complete with gold leaf, that will be delivered to California.  Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.  He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.  Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.  “I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”  Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.”   Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.  “Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”  Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.  Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV. Warrick also is finishing up an 18-foot orange tree sculpture, complete with gold leaf, that will be delivered to California.  Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.  He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.  Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.  “I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”  Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.”   Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.  “Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”  Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.  Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV. Warrick also is finishing up an 18-foot orange tree sculpture, complete with gold leaf, that will be delivered to California.  Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.  He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.  Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.  “I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”  Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.”   Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.

“Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”

Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.

Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV.

Warrick is currently completing an 18-foot stainless-steel with gold leaf sculpture "Mockingbird/Orange Tree" commissioned through the National Sculptors' Guild for The Groves in Whittier, California.

Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.

He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.

Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.

“I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”

Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.” 

Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
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Joe Norman Elected NSG Associate

3/10/2020

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​The National Sculptors 'Guild’s board of directors nominated Joe Norman to move up from Affiliate to Associate within our organization. This passed with over two-thirds support by the current Fellows.  We have had amazing success from the start with Joe, placing public art in Texas, Georgia and California. The latest project was a 12-ft tall sculpture Homeward/Monarch for the City of Downey, CA. We have really enjoyed working with Joe, he always brings a creative twist to a call for art, and always with a smile.  With a background in engineering, design consulting and product design plus a degree from Stanford and a bit of Middle School teaching in the mix, Joe Norman approaches art from a different perspective than most artists, and that’s the focus of the majority of his sculptures - the viewer’s perspective. How you stand in the environment of the sculpture, dictates what you see. Adjust to another side, you see something else. This can be a girl who transforms into a monarch butterfly, or words of opposing meaning living in the same space like ‘peace’ and ‘chaos’. We hope you get the chance to interact with his art, it can change ones perspective on their place in nature.  “My intent is to make art that contributes to a wider conversation about justice and care and our impact on the world. I hope it helps people think and be happy; I hope it helps people be important to each other.
​The National Sculptors 'Guild’s board of directors nominated Joe Norman to move up from Affiliate to Associate within our organization. This passed with over two-thirds support by the current Fellows.

We have had amazing success from the start with Joe, placing public art in Texas, Georgia and California. The latest project was a 12-ft tall sculpture Homeward/Monarch for the City of Downey, CA. We have really enjoyed working with Joe, he always brings a creative twist to a call for art, and always with a smile. 

With a background in engineering, design consulting and product design plus a degree from Stanford and a bit of Middle School teaching in the mix, Joe Norman approaches art from a different perspective than most artists, and that’s the focus of the majority of his sculptures - the viewer’s perspective. How you stand in the environment of the sculpture, dictates what you see. Adjust to another side, you see something else. This can be a girl who transforms into a monarch butterfly, or words of opposing meaning living in the same space like ‘peace’ and ‘chaos’. We hope you get the chance to interact with his art, it can change ones perspective on their place in nature.

“My intent is to make art that contributes to a wider conversation about justice and care and our impact on the world. I hope it helps people think and be happy; I hope it helps people be important to each other." -
Joe Norman

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#ArtistHighlight #ColumbineGallery #JoeNorman #NationalSculptorsGuild #NSGAssociate #Sculpture #silhouette #Perspective #ImageMorph #WordPlay #Opposites #Coincide #Nature #Wonder #Monarch #Homeward #FearLove #ChaosPeace #Preorder #ShopOnline #AddToYourCollection #ArtWorthCollecting #SupportSmallBusiness #SupportTheArts #TimeToBeautifyYourSpace #BuyOriginal #LiveWithArt #KeepOurArtistsCreating #feedyourcreativespirit @jnsculpture
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Dan Glanz elected Fellow

2/14/2020

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The National Sculptors’ Guild’s board of directors nominated Daniel Glanz to move up from Associate to Fellow within our organization. This passed with over two-thirds support by the current Fellows.   Fellows exemplify the best qualities of the National Sculptors’ Guild through their exceptional merit of work as well as esteem in the sculpture community.  Dan captures a timeless intimacy for the viewer.  His art is known for its energy, movement and technical mastery.  Both his figurative and his wildlife work share a powerful yet elegant quality, drawn from his classical approach to sculpture. ​ We have seen great success with Dan, below are images of some of the current large-scale commissions we working on together. Stay tuned for completion images of these and more.
The National Sculptors’ Guild’s board of directors nominated Daniel Glanz to move up from Associate to Fellow within our organization. This passed with over two-thirds support by the current Fellows.
 
Fellows exemplify the best qualities of the National Sculptors’ Guild through their exceptional merit of work as well as esteem in the sculpture community.

Dan captures a timeless intimacy for the viewer.  His art is known for its energy, movement and technical mastery.  Both his figurative and his wildlife work share a powerful yet elegant quality, drawn from his classical approach to sculpture.
​
We have seen great success with Dan, below are images of some of the current large-scale commissions we working on together. Stay tuned for completion images of these and more.

The National Sculptors’ Guild’s board of directors nominated Daniel Glanz to move up from Associate to Fellow within our organization. This passed with over two-thirds support by the current Fellows.   Fellows exemplify the best qualities of the National Sculptors’ Guild through their exceptional merit of work as well as esteem in the sculpture community.  Dan captures a timeless intimacy for the viewer.  His art is known for its energy, movement and technical mastery.  Both his figurative and his wildlife work share a powerful yet elegant quality, drawn from his classical approach to sculpture. ​ We have seen great success with Dan, below are images of some of the current large-scale commissions we working on together. Stay tuned for completion images of these and more.
The National Sculptors’ Guild’s board of directors nominated Daniel Glanz to move up from Associate to Fellow within our organization. This passed with over two-thirds support by the current Fellows.   Fellows exemplify the best qualities of the National Sculptors’ Guild through their exceptional merit of work as well as esteem in the sculpture community.  Dan captures a timeless intimacy for the viewer.  His art is known for its energy, movement and technical mastery.  Both his figurative and his wildlife work share a powerful yet elegant quality, drawn from his classical approach to sculpture. ​ We have seen great success with Dan, below are images of some of the current large-scale commissions we working on together. Stay tuned for completion images of these and more.
The National Sculptors’ Guild’s board of directors nominated Daniel Glanz to move up from Associate to Fellow within our organization. This passed with over two-thirds support by the current Fellows.   Fellows exemplify the best qualities of the National Sculptors’ Guild through their exceptional merit of work as well as esteem in the sculpture community.  Dan captures a timeless intimacy for the viewer.  His art is known for its energy, movement and technical mastery.  Both his figurative and his wildlife work share a powerful yet elegant quality, drawn from his classical approach to sculpture. ​ We have seen great success with Dan, below are images of some of the current large-scale commissions we working on together. Stay tuned for completion images of these and more.
The National Sculptors’ Guild’s board of directors nominated Daniel Glanz to move up from Associate to Fellow within our organization. This passed with over two-thirds support by the current Fellows.   Fellows exemplify the best qualities of the National Sculptors’ Guild through their exceptional merit of work as well as esteem in the sculpture community.  Dan captures a timeless intimacy for the viewer.  His art is known for its energy, movement and technical mastery.  Both his figurative and his wildlife work share a powerful yet elegant quality, drawn from his classical approach to sculpture. ​ We have seen great success with Dan, below are images of some of the current large-scale commissions we working on together. Stay tuned for completion images of these and more.
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National Sculptors' Guild welcomes Joe Norman

9/28/2018

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The National Sculptors 'Guild is pleased to announce our newest Affiliate member, Joe Norman.   Joe graduated with a degree in Product Design from Stanford and worked with design consulting firms for a number of years before teaching middle school and customizing vintage motorcycles. For the past ten years he has been a full-time sculptor, focusing on handmade and site-specific works informed by the intersection of the natural and human-made environment.  Joe was the Artist-In-Residence at Great Basin National Park and frequently speaks on art and its role in social justice. His work is in permanent public and private collections across the United States. He currently maintains his studio at Artworks Loveland. We're excited by Joe's diverse exploration of material and imaginative approach to varied subject matter. From word play, to morphing silhouettes; magnified microcosms to figurative renderings from reclaimed bicycle parts, Joe fills the public space with a bit more wonder through sophisticated form. His work  makes interaction unavoidable and we're pleased to add him to our team.  Smaller works are also available for the home collector. You'll start seeing his sculpture at Columbine Gallery and in the National Sculptors' Guild sculpture garden by mid-October, and can start ordering online now.... click here to shopJoe Norman with his sculpture "Fear and Love"
The National Sculptors 'Guild is pleased to announce our newest Affiliate member, Joe Norman. 

Joe graduated with a degree in Product Design from Stanford and worked with design consulting firms for a number of years before teaching middle school and customizing vintage motorcycles. For the past ten years he has been a full-time sculptor, focusing on handmade and site-specific works informed by the intersection of the natural and human-made environment.

Joe was the Artist-In-Residence at Great Basin National Park and frequently speaks on art and its role in social justice. His work is in permanent public and private collections across the United States. He currently maintains his studio at Artworks Loveland.

One of Joe Norman's most recent installations,
One of Joe Norman's most recent installations, "Taft Bridge Wings" was commissioned by the city of Loveland featuring a set of 8 wing patterns of critical waterway bird and insect species of Northern Colorado.
Joe Norman's latest public art project is in-the-works for Golden, Colorado, Installation is slated for Spring 2019, on hwy 93 across from the North Table Mountain trail head. Shown here are the latest scale prototypes and engineering drawings for the sculptures. The composition depicts three running children or a red-tailed hawk in flight depending on the viewed angle. We're excited by Joe's diverse exploration of material and imaginative approach to varied subject matter. From word play, to morphing silhouettes; magnified microcosms to figurative renderings from reclaimed bicycle parts, Joe fills the public space with a bit more wonder through sophisticated form. His work  makes interaction unavoidable and we're pleased to add him to our team.  Smaller works are also available for the home collector. You'll start seeing his sculpture at Columbine Gallery and in the National Sculptors' Guild sculpture garden by mid-October, and can start ordering online now.... click here to shop
Joe Norman's latest public art project is in-the-works for Golden, Colorado, Installation is slated for Spring 2019, on hwy 93 across from the North Table Mountain trail head. Shown here are the latest scale prototypes and engineering drawings for the sculptures. The composition depicts three running children or a red-tailed hawk in flight depending on the viewed angle. 

Joe Norman's latest public art project is in-the-works for Golden, Colorado, Installation is slated for Spring 2019, on hwy 93 across from the North Table Mountain trail head. Shown here are the latest scale prototypes and engineering drawings for the sculptures. The composition depicts three running children or a red-tailed hawk in flight depending on the viewed angle.  We're excited by Joe's diverse exploration of material and imaginative approach to varied subject matter. From word play, to morphing silhouettes; magnified microcosms to figurative renderings from reclaimed bicycle parts, Joe fills the public space with a bit more wonder through sophisticated form. His work  makes interaction unavoidable and we're pleased to add him to our team.  Smaller works are also available for the home collector. You'll start seeing his sculpture at Columbine Gallery and in the National Sculptors' Guild sculpture garden by mid-October, and can start ordering online now.... click here to shop
Joe Norman's latest public art project is in-the-works for Golden, Colorado, Installation is slated for Spring 2019, on hwy 93 across from the North Table Mountain trail head. Shown here are the latest scale prototypes and engineering drawings for the sculptures. The composition depicts three running children or a red-tailed hawk in flight depending on the viewed angle.  We're excited by Joe's diverse exploration of material and imaginative approach to varied subject matter. From word play, to morphing silhouettes; magnified microcosms to figurative renderings from reclaimed bicycle parts, Joe fills the public space with a bit more wonder through sophisticated form. His work  makes interaction unavoidable and we're pleased to add him to our team.  Smaller works are also available for the home collector. You'll start seeing his sculpture at Columbine Gallery and in the National Sculptors' Guild sculpture garden by mid-October, and can start ordering online now.... click here to shop
We're excited by Joe Norman's diverse exploration of material and imaginative approach to varied subject matter. From word play, to morphing silhouettes; magnified microcosms to figurative renderings from reclaimed bicycle parts, Joe fills the public space with a bit more wonder through sophisticated form. His work  makes interaction unavoidable and we're pleased to add him to our team.

Smaller works are also available for the home collector. You'll start seeing Joe's sculpture at Columbine Gallery and in the National Sculptors' Guild sculpture garden by mid-October, and can start ordering online now.... click here to shop
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National Sculptors' Guild welcome Christopher Owen Nelson

6/10/2016

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Christopher Owen Nelson is the newest National Sculptors' Guild member, providing some incredible solutions for upcoming public art placements. Geode
Deep Roots Christopher Owen Nelson National Sculptors' Guild public art solutions
Aspen trunks by Christopher Owen Nelson, National Sculptors' Guild Colorado
Christopher Owen Nelson is the newest National Sculptors' Guild member, providing some incredible solutions for upcoming public art placements. We are excited to introduce Christopher's unique approach depicting nature in an innovative, contemporary context.

"Through my art, I continue to explore man’s obsession to re-create and perfect nature. My artwork creates a bridge or transition between the man-made and natural worlds.

Through prestigious exhibitions and collections, my artworks have traveled the globe. Already in my career I have presented over a dozen solo exhibitions. Boulder Museum of Art, Boulder, Colorado; The Art Museum at the University of Kentucky, Lexington, Kentucky, and St. John’s College, Annapolis, Maryland are among the many museums and universities who have exhibited my work.

I continually look forward to exploring the possibilities that come with developing my craft, creating challenging pieces, forming new ideas, and extending my pursuit of expression through sculpture." -Christopher Owen Nelson

Learn more about Christopher Owen Nelson
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Some Pig... Sandy Scott's art gets a tweet from Tim McGraw

6/5/2015

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Picture
Acclaimed Country music artist Tim McGraw spotted our Sandy Scott River Market Pig public art placement in Little Rock, AR while performing in the city during his Shotgun Rider Tour. Thanks for the sweet tweet! Check out more National Sculptors' Guild placements in this great city. #LittleRock
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The Gold Standard

7/1/2004

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Bonnie Gangelhoff / Southwest Art Jul 01, 2004

"I think inspiration comes from a lot of places-from where I am emotionally as well as from nature."

Sculptor Carol Gold wrings strong emotions from her sleek bronze figures

EVERY JANUARY, California sculptor Carol Gold settles into her studio to begin the year anew with fresh ideas for her bronze pieces and a chunk of soft, hot wax with which to give them shape. Her ideas about the forms that will occupy her heart and hands over the next 12 months have percolated in her thoughts to some degree, but arise mostly from the unconscious, Gold says.

She squeezes, manipulates, and molds the wax, roughing in shapes as figures emerge-some large, some small, some flat, some rounded. Most of her forms represent the human figure, with the exception of a horse or two. "I think inspiration comes from a lot of places-from where I am emotionally as well as from nature," Gold explains from her airy, 770-square-foot studio perched on a hillside in Northern California. "My work is also informed by what`s going on in the world and what I read."

Last year, for instance, Gold says her work was directly affected by the turmoil in the world, including the U.S. invasion of Iraq and the events leading up to it. "I had this feeling all last year that what I needed to do was create tranquil pieces," she says. "Some artists may respond to what`s going on in the world with anger, but I just can`t do that. I needed my sculptures to be an antidote to the chaos."

TRANQUILITY and EMBRACE, both created in 2003, are two of her most peaceful pieces-ones that Gold describes as "calm and loving." In TRANQUILITY, a relaxed figure sits staring into space as if looking out a window on a beautiful day. In EMBRACE, two people wrap their arms around each other in a display of tender affection. The latter bronze also is an example of how Gold is influenced by what she reads. After finishing the book War is a Force That Gives Us Meaning [2003 ANCHOR] by Chris Hedges, the sculptor was deeply moved by one of the points the author kept stressing. Hedges, a veteran war correspondent for The New York Times, explains in the book that while covering many wars and trying to survive in various war zones-including being ambushed in Central America and imprisoned in the Sudan-the only place he ever felt safe was in the home of a loving couple or family. "EMBRACE came out of that sense of a safe place in the midst of war," Gold says.

Of the many themes woven through Gold`s work, perhaps the most common is communication. Her sculptures often include two figures as in EVENING WALK, ARTTALK, and FIESTA. The moods the sculptor evokes in these twosomes are amazingly varied-from the contemplative, restful depiction of a couple strolling in EVENING WALK to the joyous dance captured in FIESTA. Gold manages to squeeze living, breathing emotion out of cold, hard bronze, whether it`s tenderness of spirit as in EMBRACE or the arrogant poses of two figures in ART TALK.

THERE ARE FEW CLUES in Gold`s sophisticated pieces to reveal her personal roots. Her sleek, contemporary figures are a far artistic cry from growing up on a dairy farm in western Massachusetts. About the only trace of her childhood that a viewer glimpses is through the horses that emerge in her work every now and then. As a girl, Gold spent countless hours riding through the countryside, enjoying the calm and solitude. "I would get on my horse, and all of my anxieties would melt away," she recalls. Today her bronze equines are remnants of those bygone days. Now, as then, the horses represent freedom to the artist. "They were my only mode of escape as a child," she explains.

In addition to a fondness for roaming the countryside on her horse, Gold`s other main interests in her youth were drawing and poring over her parents` book on the history of painting. "At one point my mom gave me art lessons, but I was always more interested in animals," she recalls.

When she headed to Cornell University in Ithaca, NY, Gold was bent on studying veterinary medicine. But her entire world spun in a different direction one day when she signed up for an art history class. After a few hours in class, she was sure that all she ever wanted to pursue was art. Gold quickly changed her major to art and architecture but encountered some rocky patches in subsequent classes. She wanted to learn more about technique, but it was fashionable in the art department then to focus on self-expression. Married at the time, Gold and her husband moved to Boston, MA, after three years at Cornell. She transferred to Boston University, where her artistic desires were met with a more welcome attitude in the fine-arts department. "It was a breath of fresh air," Gold says. "I just wanted to learn the basics like stretching canvas and printmaking first, just the tools I needed in the beginning."

In 1968 Gold moved to California, where she has remained ever since. When her four children were young, she worked at their elementary school as an assistant to a sculpting teacher. By 1972 she was sculpting full time, working first with clay. Three-dimensional forms have always held more allure for Gold, moving her in a way that painting and other two-dimensional artworks have failed to do. Likewise, figures in art have usually had an emotional impact on her, while nonobjective art rarely engages her with quite the same intensity.

Gold`s work has evolved over the past two decades as she moved from clay to wax about 10 years ago. "Clay was too earthbound," she says. "Wax gives me a chance to be more expressive in my forms." While experimenting with wax she has developed a technique for incorporating pieces of burlap, which allows her to fully realize one of what she calls her "two basic sculpting vocabularies"-flat, nude figures and draped figures. Because wax is easier to manipulate than clay, the material goes a long way in helping Gold convey emotions and mood. And using wax enables her to "sketch in" figures rapidly when her ideas are taking shape at the beginning of the year. The sculptor creates about 30 such shapes, but by the end of the year only six or seven will survive and be cast in bronze. "They need to really strike me as far as the mood I am trying to convey, or I will throw them away," she says.

Another signature Gold element is the stunningly rich patinas on her bronze pieces, in colors that range from earthy gold and copper tones to various shades of turquoise that often evoke a southwestern flavor. As this story went to press, the sculptor was preparing works for the prestigious Sculpture in the Park show, held every August in Loveland, CO [see page 74]. Her piece FIESTA is also scheduled for installation in Loveland`s Benson Sculpture Park this summer.

Gold isn`t fond of speculating about what ideas she will explore in the future, except to say that communication is always a reoccurring theme. For now, she`s content to read, share opinions, pay attention to the world at large, and have faith that when a hunk of wax is set before her, her unconscious will light the way.

Gold is represented by Bronze Coast Gallery, Cannon Beach, OR; Savage Stephens Contemporary Art Works, Carmel, CA; Coda Gallery, Palm Desert, CA, and New York, NY; and Columbine Gallery and the National Sculptors' Guild, Loveland, CO, and Santa Fe, NM.

ILLUSTRATIONS

EMBRACE, BRONZE, 14 × 7 × 3 ½.

FIESTA, BRONZE, 29 ½ × 36 × 9.

CAROL GOLD

ART TALK, BRONZE, 17 × 15 × 8.

CELEBRATION, BRONZE, 19 ½ × 12 × 6.

KOBILA, BRONZE, 23 × 25 × 9.

AUTHOR AFFILIATION: Bonnie Gangelhoff is the senior editor of Southwest Art. COPYRIGHT: Copyright Sabot Publishing, Inc. Jul 2004.
Bonnie Gangelhoff / Southwest Art Jul 01, 2004

Sculptor Carol Gold wrings strong emotions from her sleek bronze figures

EVERY JANUARY, California sculptor Carol Gold settles into her studio to begin the year anew with fresh ideas for her bronze pieces and a chunk of soft, hot wax with which to give them shape. Her ideas about the forms that will occupy her heart and hands over the next 12 months have percolated in her thoughts to some degree, but arise mostly from the unconscious, Gold says.

She squeezes, manipulates, and molds the wax, roughing in shapes as figures emerge-some large, some small, some flat, some rounded. Most of her forms represent the human figure, with the exception of a horse or two. "I think inspiration comes from a lot of places-from where I am emotionally as well as from nature," Gold explains from her airy, 770-square-foot studio perched on a hillside in Northern California. "My work is also informed by what`s going on in the world and what I read."

Last year, for instance, Gold says her work was directly affected by the turmoil in the world, including the U.S. invasion of Iraq and the events leading up to it. "I had this feeling all last year that what I needed to do was create tranquil pieces," she says. "Some artists may respond to what`s going on in the world with anger, but I just can`t do that. I needed my sculptures to be an antidote to the chaos."

TRANQUILITY and EMBRACE, both created in 2003, are two of her most peaceful pieces-ones that Gold describes as "calm and loving." In TRANQUILITY, a relaxed figure sits staring into space as if looking out a window on a beautiful day. In EMBRACE, two people wrap their arms around each other in a display of tender affection. The latter bronze also is an example of how Gold is influenced by what she reads. After finishing the book War is a Force That Gives Us Meaning [2003 ANCHOR] by Chris Hedges, the sculptor was deeply moved by one of the points the author kept stressing. Hedges, a veteran war correspondent for The New York Times, explains in the book that while covering many wars and trying to survive in various war zones-including being ambushed in Central America and imprisoned in the Sudan-the only place he ever felt safe was in the home of a loving couple or family. "EMBRACE came out of that sense of a safe place in the midst of war," Gold says.

Of the many themes woven through Gold`s work, perhaps the most common is communication. Her sculptures often include two figures as in EVENING WALK, ARTTALK, and FIESTA. The moods the sculptor evokes in these twosomes are amazingly varied-from the contemplative, restful depiction of a couple strolling in EVENING WALK to the joyous dance captured in FIESTA. Gold manages to squeeze living, breathing emotion out of cold, hard bronze, whether it`s tenderness of spirit as in EMBRACE or the arrogant poses of two figures in ART TALK.

THERE ARE FEW CLUES in Gold`s sophisticated pieces to reveal her personal roots. Her sleek, contemporary figures are a far artistic cry from growing up on a dairy farm in western Massachusetts. About the only trace of her childhood that a viewer glimpses is through the horses that emerge in her work every now and then. As a girl, Gold spent countless hours riding through the countryside, enjoying the calm and solitude. "I would get on my horse, and all of my anxieties would melt away," she recalls. Today her bronze equines are remnants of those bygone days. Now, as then, the horses represent freedom to the artist. "They were my only mode of escape as a child," she explains.

In addition to a fondness for roaming the countryside on her horse, Gold`s other main interests in her youth were drawing and poring over her parents` book on the history of painting. "At one point my mom gave me art lessons, but I was always more interested in animals," she recalls.

When she headed to Cornell University in Ithaca, NY, Gold was bent on studying veterinary medicine. But her entire world spun in a different direction one day when she signed up for an art history class. After a few hours in class, she was sure that all she ever wanted to pursue was art. Gold quickly changed her major to art and architecture but encountered some rocky patches in subsequent classes. She wanted to learn more about technique, but it was fashionable in the art department then to focus on self-expression. Married at the time, Gold and her husband moved to Boston, MA, after three years at Cornell. She transferred to Boston University, where her artistic desires were met with a more welcome attitude in the fine-arts department. "It was a breath of fresh air," Gold says. "I just wanted to learn the basics like stretching canvas and printmaking first, just the tools I needed in the beginning."

In 1968 Gold moved to California, where she has remained ever since. When her four children were young, she worked at their elementary school as an assistant to a sculpting teacher. By 1972 she was sculpting full time, working first with clay. Three-dimensional forms have always held more allure for Gold, moving her in a way that painting and other two-dimensional artworks have failed to do. Likewise, figures in art have usually had an emotional impact on her, while nonobjective art rarely engages her with quite the same intensity.

Gold`s work has evolved over the past two decades as she moved from clay to wax about 10 years ago. "Clay was too earthbound," she says. "Wax gives me a chance to be more expressive in my forms." While experimenting with wax she has developed a technique for incorporating pieces of burlap, which allows her to fully realize one of what she calls her "two basic sculpting vocabularies"-flat, nude figures and draped figures. Because wax is easier to manipulate than clay, the material goes a long way in helping Gold convey emotions and mood. And using wax enables her to "sketch in" figures rapidly when her ideas are taking shape at the beginning of the year. The sculptor creates about 30 such shapes, but by the end of the year only six or seven will survive and be cast in bronze. "They need to really strike me as far as the mood I am trying to convey, or I will throw them away," she says.

Another signature Gold element is the stunningly rich patinas on her bronze pieces, in colors that range from earthy gold and copper tones to various shades of turquoise that often evoke a southwestern flavor. As this story went to press, the sculptor was preparing works for the prestigious Sculpture in the Park show, held every August in Loveland, CO [see page 74]. Her piece FIESTA is also scheduled for installation in Lovelanci`s Benson Sculpture Park this summer.

Gold isn`t fond of speculating about what ideas she will explore in the future, except to say that communication is always a reoccurring theme. For now, she`s content to read, share opinions, pay attention to the world at large, and have faith that when a hunk of wax is set before her, her unconscious will light the way.

Gold is represented by Bronze Coast Gallery, Cannon Beach, OR; Savage Stephens Contemporary Art Works, Carmel, CA; Coda Gallery, Palm Desert, CA, and New York, NY; and Columbine Gallery, Loveland, CO, and Santa Fe, NM.

SIDEBAR

"I think inspiration comes from a lot of places-from where I am emotionally as well as from nature."

ILLUSTRATIONS

EMBRACE, BRONZE, 14 × 7 × 3 ½.

FIESTA, BRONZE, 29 ½ × 36 × 9.

CAROL GOLD

ART TALK, BRONZE, 17 × 15 × 8.

CELEBRATION, BRONZE, 19 ½ × 12 × 6.

KOBILA, BRONZE, 23 × 25 × 9.

AUTHOR AFFILIATION

Bonnie Gangelhoff is the senior editor of Southwest Art.

COPYRIGHT: Copyright Sabot Publishing, Inc. Jul 2004. Provided by Proquest- CSA, LLC. All Rights Reserved. Only fair use as provided by the United States copyright law is permitted.
Bonnie Gangelhoff / Southwest Art Jul 01, 2004

Sculptor Carol Gold wrings strong emotions from her sleek bronze figures

EVERY JANUARY, California sculptor Carol Gold settles into her studio to begin the year anew with fresh ideas for her bronze pieces and a chunk of soft, hot wax with which to give them shape. Her ideas about the forms that will occupy her heart and hands over the next 12 months have percolated in her thoughts to some degree, but arise mostly from the unconscious, Gold says.

She squeezes, manipulates, and molds the wax, roughing in shapes as figures emerge-some large, some small, some flat, some rounded. Most of her forms represent the human figure, with the exception of a horse or two. "I think inspiration comes from a lot of places-from where I am emotionally as well as from nature," Gold explains from her airy, 770-square-foot studio perched on a hillside in Northern California. "My work is also informed by what`s going on in the world and what I read."

Last year, for instance, Gold says her work was directly affected by the turmoil in the world, including the U.S. invasion of Iraq and the events leading up to it. "I had this feeling all last year that what I needed to do was create tranquil pieces," she says. "Some artists may respond to what`s going on in the world with anger, but I just can`t do that. I needed my sculptures to be an antidote to the chaos."

TRANQUILITY and EMBRACE, both created in 2003, are two of her most peaceful pieces-ones that Gold describes as "calm and loving." In TRANQUILITY, a relaxed figure sits staring into space as if looking out a window on a beautiful day. In EMBRACE, two people wrap their arms around each other in a display of tender affection. The latter bronze also is an example of how Gold is influenced by what she reads. After finishing the book War is a Force That Gives Us Meaning [2003 ANCHOR] by Chris Hedges, the sculptor was deeply moved by one of the points the author kept stressing. Hedges, a veteran war correspondent for The New York Times, explains in the book that while covering many wars and trying to survive in various war zones-including being ambushed in Central America and imprisoned in the Sudan-the only place he ever felt safe was in the home of a loving couple or family. "EMBRACE came out of that sense of a safe place in the midst of war," Gold says.

Of the many themes woven through Gold`s work, perhaps the most common is communication. Her sculptures often include two figures as in EVENING WALK, ARTTALK, and FIESTA. The moods the sculptor evokes in these twosomes are amazingly varied-from the contemplative, restful depiction of a couple strolling in EVENING WALK to the joyous dance captured in FIESTA. Gold manages to squeeze living, breathing emotion out of cold, hard bronze, whether it`s tenderness of spirit as in EMBRACE or the arrogant poses of two figures in ART TALK.

THERE ARE FEW CLUES in Gold`s sophisticated pieces to reveal her personal roots. Her sleek, contemporary figures are a far artistic cry from growing up on a dairy farm in western Massachusetts. About the only trace of her childhood that a viewer glimpses is through the horses that emerge in her work every now and then. As a girl, Gold spent countless hours riding through the countryside, enjoying the calm and solitude. "I would get on my horse, and all of my anxieties would melt away," she recalls. Today her bronze equines are remnants of those bygone days. Now, as then, the horses represent freedom to the artist. "They were my only mode of escape as a child," she explains.

In addition to a fondness for roaming the countryside on her horse, Gold`s other main interests in her youth were drawing and poring over her parents` book on the history of painting. "At one point my mom gave me art lessons, but I was always more interested in animals," she recalls.

When she headed to Cornell University in Ithaca, NY, Gold was bent on studying veterinary medicine. But her entire world spun in a different direction one day when she signed up for an art history class. After a few hours in class, she was sure that all she ever wanted to pursue was art. Gold quickly changed her major to art and architecture but encountered some rocky patches in subsequent classes. She wanted to learn more about technique, but it was fashionable in the art department then to focus on self-expression. Married at the time, Gold and her husband moved to Boston, MA, after three years at Cornell. She transferred to Boston University, where her artistic desires were met with a more welcome attitude in the fine-arts department. "It was a breath of fresh air," Gold says. "I just wanted to learn the basics like stretching canvas and printmaking first, just the tools I needed in the beginning."

In 1968 Gold moved to California, where she has remained ever since. When her four children were young, she worked at their elementary school as an assistant to a sculpting teacher. By 1972 she was sculpting full time, working first with clay. Three-dimensional forms have always held more allure for Gold, moving her in a way that painting and other two-dimensional artworks have failed to do. Likewise, figures in art have usually had an emotional impact on her, while nonobjective art rarely engages her with quite the same intensity.

Gold`s work has evolved over the past two decades as she moved from clay to wax about 10 years ago. "Clay was too earthbound," she says. "Wax gives me a chance to be more expressive in my forms." While experimenting with wax she has developed a technique for incorporating pieces of burlap, which allows her to fully realize one of what she calls her "two basic sculpting vocabularies"-flat, nude figures and draped figures. Because wax is easier to manipulate than clay, the material goes a long way in helping Gold convey emotions and mood. And using wax enables her to "sketch in" figures rapidly when her ideas are taking shape at the beginning of the year. The sculptor creates about 30 such shapes, but by the end of the year only six or seven will survive and be cast in bronze. "They need to really strike me as far as the mood I am trying to convey, or I will throw them away," she says.

Another signature Gold element is the stunningly rich patinas on her bronze pieces, in colors that range from earthy gold and copper tones to various shades of turquoise that often evoke a southwestern flavor. As this story went to press, the sculptor was preparing works for the prestigious Sculpture in the Park show, held every August in Loveland, CO [see page 74]. Her piece FIESTA is also scheduled for installation in Lovelanci`s Benson Sculpture Park this summer.

Gold isn`t fond of speculating about what ideas she will explore in the future, except to say that communication is always a reoccurring theme. For now, she`s content to read, share opinions, pay attention to the world at large, and have faith that when a hunk of wax is set before her, her unconscious will light the way.

Gold is represented by Bronze Coast Gallery, Cannon Beach, OR; Savage Stephens Contemporary Art Works, Carmel, CA; Coda Gallery, Palm Desert, CA, and New York, NY; and Columbine Gallery, Loveland, CO, and Santa Fe, NM.

SIDEBAR

"I think inspiration comes from a lot of places-from where I am emotionally as well as from nature."

ILLUSTRATIONS

EMBRACE, BRONZE, 14 × 7 × 3 ½.

FIESTA, BRONZE, 29 ½ × 36 × 9.

CAROL GOLD

ART TALK, BRONZE, 17 × 15 × 8.

CELEBRATION, BRONZE, 19 ½ × 12 × 6.

KOBILA, BRONZE, 23 × 25 × 9.

AUTHOR AFFILIATION

Bonnie Gangelhoff is the senior editor of Southwest Art.

COPYRIGHT: Copyright Sabot Publishing, Inc. Jul 2004. Provided by Proquest- CSA, LLC. All Rights Reserved. Only fair use as provided by the United States copyright law is permitted.
Bonnie Gangelhoff / Southwest Art Jul 01, 2004

Sculptor Carol Gold wrings strong emotions from her sleek bronze figures

EVERY JANUARY, California sculptor Carol Gold settles into her studio to begin the year anew with fresh ideas for her bronze pieces and a chunk of soft, hot wax with which to give them shape. Her ideas about the forms that will occupy her heart and hands over the next 12 months have percolated in her thoughts to some degree, but arise mostly from the unconscious, Gold says.

She squeezes, manipulates, and molds the wax, roughing in shapes as figures emerge-some large, some small, some flat, some rounded. Most of her forms represent the human figure, with the exception of a horse or two. "I think inspiration comes from a lot of places-from where I am emotionally as well as from nature," Gold explains from her airy, 770-square-foot studio perched on a hillside in Northern California. "My work is also informed by what`s going on in the world and what I read."

Last year, for instance, Gold says her work was directly affected by the turmoil in the world, including the U.S. invasion of Iraq and the events leading up to it. "I had this feeling all last year that what I needed to do was create tranquil pieces," she says. "Some artists may respond to what`s going on in the world with anger, but I just can`t do that. I needed my sculptures to be an antidote to the chaos."

TRANQUILITY and EMBRACE, both created in 2003, are two of her most peaceful pieces-ones that Gold describes as "calm and loving." In TRANQUILITY, a relaxed figure sits staring into space as if looking out a window on a beautiful day. In EMBRACE, two people wrap their arms around each other in a display of tender affection. The latter bronze also is an example of how Gold is influenced by what she reads. After finishing the book War is a Force That Gives Us Meaning [2003 ANCHOR] by Chris Hedges, the sculptor was deeply moved by one of the points the author kept stressing. Hedges, a veteran war correspondent for The New York Times, explains in the book that while covering many wars and trying to survive in various war zones-including being ambushed in Central America and imprisoned in the Sudan-the only place he ever felt safe was in the home of a loving couple or family. "EMBRACE came out of that sense of a safe place in the midst of war," Gold says.

Of the many themes woven through Gold`s work, perhaps the most common is communication. Her sculptures often include two figures as in EVENING WALK, ARTTALK, and FIESTA. The moods the sculptor evokes in these twosomes are amazingly varied-from the contemplative, restful depiction of a couple strolling in EVENING WALK to the joyous dance captured in FIESTA. Gold manages to squeeze living, breathing emotion out of cold, hard bronze, whether it`s tenderness of spirit as in EMBRACE or the arrogant poses of two figures in ART TALK.

THERE ARE FEW CLUES in Gold`s sophisticated pieces to reveal her personal roots. Her sleek, contemporary figures are a far artistic cry from growing up on a dairy farm in western Massachusetts. About the only trace of her childhood that a viewer glimpses is through the horses that emerge in her work every now and then. As a girl, Gold spent countless hours riding through the countryside, enjoying the calm and solitude. "I would get on my horse, and all of my anxieties would melt away," she recalls. Today her bronze equines are remnants of those bygone days. Now, as then, the horses represent freedom to the artist. "They were my only mode of escape as a child," she explains.

In addition to a fondness for roaming the countryside on her horse, Gold`s other main interests in her youth were drawing and poring over her parents` book on the history of painting. "At one point my mom gave me art lessons, but I was always more interested in animals," she recalls.

When she headed to Cornell University in Ithaca, NY, Gold was bent on studying veterinary medicine. But her entire world spun in a different direction one day when she signed up for an art history class. After a few hours in class, she was sure that all she ever wanted to pursue was art. Gold quickly changed her major to art and architecture but encountered some rocky patches in subsequent classes. She wanted to learn more about technique, but it was fashionable in the art department then to focus on self-expression. Married at the time, Gold and her husband moved to Boston, MA, after three years at Cornell. She transferred to Boston University, where her artistic desires were met with a more welcome attitude in the fine-arts department. "It was a breath of fresh air," Gold says. "I just wanted to learn the basics like stretching canvas and printmaking first, just the tools I needed in the beginning."

In 1968 Gold moved to California, where she has remained ever since. When her four children were young, she worked at their elementary school as an assistant to a sculpting teacher. By 1972 she was sculpting full time, working first with clay. Three-dimensional forms have always held more allure for Gold, moving her in a way that painting and other two-dimensional artworks have failed to do. Likewise, figures in art have usually had an emotional impact on her, while nonobjective art rarely engages her with quite the same intensity.

Gold`s work has evolved over the past two decades as she moved from clay to wax about 10 years ago. "Clay was too earthbound," she says. "Wax gives me a chance to be more expressive in my forms." While experimenting with wax she has developed a technique for incorporating pieces of burlap, which allows her to fully realize one of what she calls her "two basic sculpting vocabularies"-flat, nude figures and draped figures. Because wax is easier to manipulate than clay, the material goes a long way in helping Gold convey emotions and mood. And using wax enables her to "sketch in" figures rapidly when her ideas are taking shape at the beginning of the year. The sculptor creates about 30 such shapes, but by the end of the year only six or seven will survive and be cast in bronze. "They need to really strike me as far as the mood I am trying to convey, or I will throw them away," she says.

Another signature Gold element is the stunningly rich patinas on her bronze pieces, in colors that range from earthy gold and copper tones to various shades of turquoise that often evoke a southwestern flavor. As this story went to press, the sculptor was preparing works for the prestigious Sculpture in the Park show, held every August in Loveland, CO [see page 74]. Her piece FIESTA is also scheduled for installation in Lovelanci`s Benson Sculpture Park this summer.

Gold isn`t fond of speculating about what ideas she will explore in the future, except to say that communication is always a reoccurring theme. For now, she`s content to read, share opinions, pay attention to the world at large, and have faith that when a hunk of wax is set before her, her unconscious will light the way.

Gold is represented by Bronze Coast Gallery, Cannon Beach, OR; Savage Stephens Contemporary Art Works, Carmel, CA; Coda Gallery, Palm Desert, CA, and New York, NY; and Columbine Gallery, Loveland, CO, and Santa Fe, NM.

SIDEBAR

"I think inspiration comes from a lot of places-from where I am emotionally as well as from nature."

ILLUSTRATIONS

EMBRACE, BRONZE, 14 × 7 × 3 ½.

FIESTA, BRONZE, 29 ½ × 36 × 9.

CAROL GOLD

ART TALK, BRONZE, 17 × 15 × 8.

CELEBRATION, BRONZE, 19 ½ × 12 × 6.

KOBILA, BRONZE, 23 × 25 × 9.

AUTHOR AFFILIATION

Bonnie Gangelhoff is the senior editor of Southwest Art.

COPYRIGHT: Copyright Sabot Publishing, Inc. Jul 2004. Provided by Proquest- CSA, LLC. All Rights Reserved. Only fair use as provided by the United States copyright law is permitted.
Bonnie Gangelhoff / Southwest Art Jul 01, 2004

Sculptor Carol Gold wrings strong emotions from her sleek bronze figures

EVERY JANUARY, California sculptor Carol Gold settles into her studio to begin the year anew with fresh ideas for her bronze pieces and a chunk of soft, hot wax with which to give them shape. Her ideas about the forms that will occupy her heart and hands over the next 12 months have percolated in her thoughts to some degree, but arise mostly from the unconscious, Gold says.

She squeezes, manipulates, and molds the wax, roughing in shapes as figures emerge-some large, some small, some flat, some rounded. Most of her forms represent the human figure, with the exception of a horse or two. "I think inspiration comes from a lot of places-from where I am emotionally as well as from nature," Gold explains from her airy, 770-square-foot studio perched on a hillside in Northern California. "My work is also informed by what`s going on in the world and what I read."

Last year, for instance, Gold says her work was directly affected by the turmoil in the world, including the U.S. invasion of Iraq and the events leading up to it. "I had this feeling all last year that what I needed to do was create tranquil pieces," she says. "Some artists may respond to what`s going on in the world with anger, but I just can`t do that. I needed my sculptures to be an antidote to the chaos."

TRANQUILITY and EMBRACE, both created in 2003, are two of her most peaceful pieces-ones that Gold describes as "calm and loving." In TRANQUILITY, a relaxed figure sits staring into space as if looking out a window on a beautiful day. In EMBRACE, two people wrap their arms around each other in a display of tender affection. The latter bronze also is an example of how Gold is influenced by what she reads. After finishing the book War is a Force That Gives Us Meaning [2003 ANCHOR] by Chris Hedges, the sculptor was deeply moved by one of the points the author kept stressing. Hedges, a veteran war correspondent for The New York Times, explains in the book that while covering many wars and trying to survive in various war zones-including being ambushed in Central America and imprisoned in the Sudan-the only place he ever felt safe was in the home of a loving couple or family. "EMBRACE came out of that sense of a safe place in the midst of war," Gold says.

Of the many themes woven through Gold`s work, perhaps the most common is communication. Her sculptures often include two figures as in EVENING WALK, ARTTALK, and FIESTA. The moods the sculptor evokes in these twosomes are amazingly varied-from the contemplative, restful depiction of a couple strolling in EVENING WALK to the joyous dance captured in FIESTA. Gold manages to squeeze living, breathing emotion out of cold, hard bronze, whether it`s tenderness of spirit as in EMBRACE or the arrogant poses of two figures in ART TALK.

THERE ARE FEW CLUES in Gold`s sophisticated pieces to reveal her personal roots. Her sleek, contemporary figures are a far artistic cry from growing up on a dairy farm in western Massachusetts. About the only trace of her childhood that a viewer glimpses is through the horses that emerge in her work every now and then. As a girl, Gold spent countless hours riding through the countryside, enjoying the calm and solitude. "I would get on my horse, and all of my anxieties would melt away," she recalls. Today her bronze equines are remnants of those bygone days. Now, as then, the horses represent freedom to the artist. "They were my only mode of escape as a child," she explains.

In addition to a fondness for roaming the countryside on her horse, Gold`s other main interests in her youth were drawing and poring over her parents` book on the history of painting. "At one point my mom gave me art lessons, but I was always more interested in animals," she recalls.

When she headed to Cornell University in Ithaca, NY, Gold was bent on studying veterinary medicine. But her entire world spun in a different direction one day when she signed up for an art history class. After a few hours in class, she was sure that all she ever wanted to pursue was art. Gold quickly changed her major to art and architecture but encountered some rocky patches in subsequent classes. She wanted to learn more about technique, but it was fashionable in the art department then to focus on self-expression. Married at the time, Gold and her husband moved to Boston, MA, after three years at Cornell. She transferred to Boston University, where her artistic desires were met with a more welcome attitude in the fine-arts department. "It was a breath of fresh air," Gold says. "I just wanted to learn the basics like stretching canvas and printmaking first, just the tools I needed in the beginning."

In 1968 Gold moved to California, where she has remained ever since. When her four children were young, she worked at their elementary school as an assistant to a sculpting teacher. By 1972 she was sculpting full time, working first with clay. Three-dimensional forms have always held more allure for Gold, moving her in a way that painting and other two-dimensional artworks have failed to do. Likewise, figures in art have usually had an emotional impact on her, while nonobjective art rarely engages her with quite the same intensity.

Gold`s work has evolved over the past two decades as she moved from clay to wax about 10 years ago. "Clay was too earthbound," she says. "Wax gives me a chance to be more expressive in my forms." While experimenting with wax she has developed a technique for incorporating pieces of burlap, which allows her to fully realize one of what she calls her "two basic sculpting vocabularies"-flat, nude figures and draped figures. Because wax is easier to manipulate than clay, the material goes a long way in helping Gold convey emotions and mood. And using wax enables her to "sketch in" figures rapidly when her ideas are taking shape at the beginning of the year. The sculptor creates about 30 such shapes, but by the end of the year only six or seven will survive and be cast in bronze. "They need to really strike me as far as the mood I am trying to convey, or I will throw them away," she says.

Another signature Gold element is the stunningly rich patinas on her bronze pieces, in colors that range from earthy gold and copper tones to various shades of turquoise that often evoke a southwestern flavor. As this story went to press, the sculptor was preparing works for the prestigious Sculpture in the Park show, held every August in Loveland, CO [see page 74]. Her piece FIESTA is also scheduled for installation in Lovelanci`s Benson Sculpture Park this summer.

Gold isn`t fond of speculating about what ideas she will explore in the future, except to say that communication is always a reoccurring theme. For now, she`s content to read, share opinions, pay attention to the world at large, and have faith that when a hunk of wax is set before her, her unconscious will light the way.

Gold is represented by Bronze Coast Gallery, Cannon Beach, OR; Savage Stephens Contemporary Art Works, Carmel, CA; Coda Gallery, Palm Desert, CA, and New York, NY; and Columbine Gallery, Loveland, CO, and Santa Fe, NM.

SIDEBAR

"I think inspiration comes from a lot of places-from where I am emotionally as well as from nature."

ILLUSTRATIONS

EMBRACE, BRONZE, 14 × 7 × 3 ½.

FIESTA, BRONZE, 29 ½ × 36 × 9.

CAROL GOLD

ART TALK, BRONZE, 17 × 15 × 8.

CELEBRATION, BRONZE, 19 ½ × 12 × 6.

KOBILA, BRONZE, 23 × 25 × 9.

AUTHOR AFFILIATION

Bonnie Gangelhoff is the senior editor of Southwest Art.

COPYRIGHT: Copyright Sabot Publishing, Inc. Jul 2004. Provided by Proquest- CSA, LLC. All Rights Reserved. Only fair use as provided by the United States copyright law is permitted.
Bonnie Gangelhoff / Southwest Art Jul 01, 2004

Sculptor Carol Gold wrings strong emotions from her sleek bronze figures

EVERY JANUARY, California sculptor Carol Gold settles into her studio to begin the year anew with fresh ideas for her bronze pieces and a chunk of soft, hot wax with which to give them shape. Her ideas about the forms that will occupy her heart and hands over the next 12 months have percolated in her thoughts to some degree, but arise mostly from the unconscious, Gold says.

She squeezes, manipulates, and molds the wax, roughing in shapes as figures emerge-some large, some small, some flat, some rounded. Most of her forms represent the human figure, with the exception of a horse or two. "I think inspiration comes from a lot of places-from where I am emotionally as well as from nature," Gold explains from her airy, 770-square-foot studio perched on a hillside in Northern California. "My work is also informed by what`s going on in the world and what I read."

Last year, for instance, Gold says her work was directly affected by the turmoil in the world, including the U.S. invasion of Iraq and the events leading up to it. "I had this feeling all last year that what I needed to do was create tranquil pieces," she says. "Some artists may respond to what`s going on in the world with anger, but I just can`t do that. I needed my sculptures to be an antidote to the chaos."

TRANQUILITY and EMBRACE, both created in 2003, are two of her most peaceful pieces-ones that Gold describes as "calm and loving." In TRANQUILITY, a relaxed figure sits staring into space as if looking out a window on a beautiful day. In EMBRACE, two people wrap their arms around each other in a display of tender affection. The latter bronze also is an example of how Gold is influenced by what she reads. After finishing the book War is a Force That Gives Us Meaning [2003 ANCHOR] by Chris Hedges, the sculptor was deeply moved by one of the points the author kept stressing. Hedges, a veteran war correspondent for The New York Times, explains in the book that while covering many wars and trying to survive in various war zones-including being ambushed in Central America and imprisoned in the Sudan-the only place he ever felt safe was in the home of a loving couple or family. "EMBRACE came out of that sense of a safe place in the midst of war," Gold says.

Of the many themes woven through Gold`s work, perhaps the most common is communication. Her sculptures often include two figures as in EVENING WALK, ARTTALK, and FIESTA. The moods the sculptor evokes in these twosomes are amazingly varied-from the contemplative, restful depiction of a couple strolling in EVENING WALK to the joyous dance captured in FIESTA. Gold manages to squeeze living, breathing emotion out of cold, hard bronze, whether it`s tenderness of spirit as in EMBRACE or the arrogant poses of two figures in ART TALK.

THERE ARE FEW CLUES in Gold`s sophisticated pieces to reveal her personal roots. Her sleek, contemporary figures are a far artistic cry from growing up on a dairy farm in western Massachusetts. About the only trace of her childhood that a viewer glimpses is through the horses that emerge in her work every now and then. As a girl, Gold spent countless hours riding through the countryside, enjoying the calm and solitude. "I would get on my horse, and all of my anxieties would melt away," she recalls. Today her bronze equines are remnants of those bygone days. Now, as then, the horses represent freedom to the artist. "They were my only mode of escape as a child," she explains.

In addition to a fondness for roaming the countryside on her horse, Gold`s other main interests in her youth were drawing and poring over her parents` book on the history of painting. "At one point my mom gave me art lessons, but I was always more interested in animals," she recalls.

When she headed to Cornell University in Ithaca, NY, Gold was bent on studying veterinary medicine. But her entire world spun in a different direction one day when she signed up for an art history class. After a few hours in class, she was sure that all she ever wanted to pursue was art. Gold quickly changed her major to art and architecture but encountered some rocky patches in subsequent classes. She wanted to learn more about technique, but it was fashionable in the art department then to focus on self-expression. Married at the time, Gold and her husband moved to Boston, MA, after three years at Cornell. She transferred to Boston University, where her artistic desires were met with a more welcome attitude in the fine-arts department. "It was a breath of fresh air," Gold says. "I just wanted to learn the basics like stretching canvas and printmaking first, just the tools I needed in the beginning."

In 1968 Gold moved to California, where she has remained ever since. When her four children were young, she worked at their elementary school as an assistant to a sculpting teacher. By 1972 she was sculpting full time, working first with clay. Three-dimensional forms have always held more allure for Gold, moving her in a way that painting and other two-dimensional artworks have failed to do. Likewise, figures in art have usually had an emotional impact on her, while nonobjective art rarely engages her with quite the same intensity.

Gold`s work has evolved over the past two decades as she moved from clay to wax about 10 years ago. "Clay was too earthbound," she says. "Wax gives me a chance to be more expressive in my forms." While experimenting with wax she has developed a technique for incorporating pieces of burlap, which allows her to fully realize one of what she calls her "two basic sculpting vocabularies"-flat, nude figures and draped figures. Because wax is easier to manipulate than clay, the material goes a long way in helping Gold convey emotions and mood. And using wax enables her to "sketch in" figures rapidly when her ideas are taking shape at the beginning of the year. The sculptor creates about 30 such shapes, but by the end of the year only six or seven will survive and be cast in bronze. "They need to really strike me as far as the mood I am trying to convey, or I will throw them away," she says.

Another signature Gold element is the stunningly rich patinas on her bronze pieces, in colors that range from earthy gold and copper tones to various shades of turquoise that often evoke a southwestern flavor. As this story went to press, the sculptor was preparing works for the prestigious Sculpture in the Park show, held every August in Loveland, CO [see page 74]. Her piece FIESTA is also scheduled for installation in Lovelanci`s Benson Sculpture Park this summer.

Gold isn`t fond of speculating about what ideas she will explore in the future, except to say that communication is always a reoccurring theme. For now, she`s content to read, share opinions, pay attention to the world at large, and have faith that when a hunk of wax is set before her, her unconscious will light the way.

Gold is represented by Bronze Coast Gallery, Cannon Beach, OR; Savage Stephens Contemporary Art Works, Carmel, CA; Coda Gallery, Palm Desert, CA, and New York, NY; and Columbine Gallery, Loveland, CO, and Santa Fe, NM.

SIDEBAR

"I think inspiration comes from a lot of places-from where I am emotionally as well as from nature."

ILLUSTRATIONS

EMBRACE, BRONZE, 14 × 7 × 3 ½.

FIESTA, BRONZE, 29 ½ × 36 × 9.

CAROL GOLD

ART TALK, BRONZE, 17 × 15 × 8.

CELEBRATION, BRONZE, 19 ½ × 12 × 6.

KOBILA, BRONZE, 23 × 25 × 9.

AUTHOR AFFILIATION

Bonnie Gangelhoff is the senior editor of Southwest Art.

COPYRIGHT: Copyright Sabot Publishing, Inc. Jul 2004. Provided by Proquest- CSA, LLC. All Rights Reserved. Only fair use as provided by the United States copyright law is permitted.
Bonnie Gangelhoff / Southwest Art Jul 01, 2004

Sculptor Carol Gold wrings strong emotions from her sleek bronze figures

EVERY JANUARY, California sculptor Carol Gold settles into her studio to begin the year anew with fresh ideas for her bronze pieces and a chunk of soft, hot wax with which to give them shape. Her ideas about the forms that will occupy her heart and hands over the next 12 months have percolated in her thoughts to some degree, but arise mostly from the unconscious, Gold says.

She squeezes, manipulates, and molds the wax, roughing in shapes as figures emerge-some large, some small, some flat, some rounded. Most of her forms represent the human figure, with the exception of a horse or two. "I think inspiration comes from a lot of places-from where I am emotionally as well as from nature," Gold explains from her airy, 770-square-foot studio perched on a hillside in Northern California. "My work is also informed by what`s going on in the world and what I read."

Last year, for instance, Gold says her work was directly affected by the turmoil in the world, including the U.S. invasion of Iraq and the events leading up to it. "I had this feeling all last year that what I needed to do was create tranquil pieces," she says. "Some artists may respond to what`s going on in the world with anger, but I just can`t do that. I needed my sculptures to be an antidote to the chaos."

TRANQUILITY and EMBRACE, both created in 2003, are two of her most peaceful pieces-ones that Gold describes as "calm and loving." In TRANQUILITY, a relaxed figure sits staring into space as if looking out a window on a beautiful day. In EMBRACE, two people wrap their arms around each other in a display of tender affection. The latter bronze also is an example of how Gold is influenced by what she reads. After finishing the book War is a Force That Gives Us Meaning [2003 ANCHOR] by Chris Hedges, the sculptor was deeply moved by one of the points the author kept stressing. Hedges, a veteran war correspondent for The New York Times, explains in the book that while covering many wars and trying to survive in various war zones-including being ambushed in Central America and imprisoned in the Sudan-the only place he ever felt safe was in the home of a loving couple or family. "EMBRACE came out of that sense of a safe place in the midst of war," Gold says.

Of the many themes woven through Gold`s work, perhaps the most common is communication. Her sculptures often include two figures as in EVENING WALK, ARTTALK, and FIESTA. The moods the sculptor evokes in these twosomes are amazingly varied-from the contemplative, restful depiction of a couple strolling in EVENING WALK to the joyous dance captured in FIESTA. Gold manages to squeeze living, breathing emotion out of cold, hard bronze, whether it`s tenderness of spirit as in EMBRACE or the arrogant poses of two figures in ART TALK.

THERE ARE FEW CLUES in Gold`s sophisticated pieces to reveal her personal roots. Her sleek, contemporary figures are a far artistic cry from growing up on a dairy farm in western Massachusetts. About the only trace of her childhood that a viewer glimpses is through the horses that emerge in her work every now and then. As a girl, Gold spent countless hours riding through the countryside, enjoying the calm and solitude. "I would get on my horse, and all of my anxieties would melt away," she recalls. Today her bronze equines are remnants of those bygone days. Now, as then, the horses represent freedom to the artist. "They were my only mode of escape as a child," she explains.

In addition to a fondness for roaming the countryside on her horse, Gold`s other main interests in her youth were drawing and poring over her parents` book on the history of painting. "At one point my mom gave me art lessons, but I was always more interested in animals," she recalls.

When she headed to Cornell University in Ithaca, NY, Gold was bent on studying veterinary medicine. But her entire world spun in a different direction one day when she signed up for an art history class. After a few hours in class, she was sure that all she ever wanted to pursue was art. Gold quickly changed her major to art and architecture but encountered some rocky patches in subsequent classes. She wanted to learn more about technique, but it was fashionable in the art department then to focus on self-expression. Married at the time, Gold and her husband moved to Boston, MA, after three years at Cornell. She transferred to Boston University, where her artistic desires were met with a more welcome attitude in the fine-arts department. "It was a breath of fresh air," Gold says. "I just wanted to learn the basics like stretching canvas and printmaking first, just the tools I needed in the beginning."

In 1968 Gold moved to California, where she has remained ever since. When her four children were young, she worked at their elementary school as an assistant to a sculpting teacher. By 1972 she was sculpting full time, working first with clay. Three-dimensional forms have always held more allure for Gold, moving her in a way that painting and other two-dimensional artworks have failed to do. Likewise, figures in art have usually had an emotional impact on her, while nonobjective art rarely engages her with quite the same intensity.

Gold`s work has evolved over the past two decades as she moved from clay to wax about 10 years ago. "Clay was too earthbound," she says. "Wax gives me a chance to be more expressive in my forms." While experimenting with wax she has developed a technique for incorporating pieces of burlap, which allows her to fully realize one of what she calls her "two basic sculpting vocabularies"-flat, nude figures and draped figures. Because wax is easier to manipulate than clay, the material goes a long way in helping Gold convey emotions and mood. And using wax enables her to "sketch in" figures rapidly when her ideas are taking shape at the beginning of the year. The sculptor creates about 30 such shapes, but by the end of the year only six or seven will survive and be cast in bronze. "They need to really strike me as far as the mood I am trying to convey, or I will throw them away," she says.

Another signature Gold element is the stunningly rich patinas on her bronze pieces, in colors that range from earthy gold and copper tones to various shades of turquoise that often evoke a southwestern flavor. As this story went to press, the sculptor was preparing works for the prestigious Sculpture in the Park show, held every August in Loveland, CO [see page 74]. Her piece FIESTA is also scheduled for installation in Lovelanci`s Benson Sculpture Park this summer.

Gold isn`t fond of speculating about what ideas she will explore in the future, except to say that communication is always a reoccurring theme. For now, she`s content to read, share opinions, pay attention to the world at large, and have faith that when a hunk of wax is set before her, her unconscious will light the way.

Gold is represented by Bronze Coast Gallery, Cannon Beach, OR; Savage Stephens Contemporary Art Works, Carmel, CA; Coda Gallery, Palm Desert, CA, and New York, NY; and Columbine Gallery, Loveland, CO, and Santa Fe, NM.

SIDEBAR

"I think inspiration comes from a lot of places-from where I am emotionally as well as from nature."

ILLUSTRATIONS

EMBRACE, BRONZE, 14 × 7 × 3 ½.

FIESTA, BRONZE, 29 ½ × 36 × 9.

CAROL GOLD

ART TALK, BRONZE, 17 × 15 × 8.

CELEBRATION, BRONZE, 19 ½ × 12 × 6.

KOBILA, BRONZE, 23 × 25 × 9.

AUTHOR AFFILIATION

Bonnie Gangelhoff is the senior editor of Southwest Art.

COPYRIGHT: Copyright Sabot Publishing, Inc. Jul 2004. Provided by Proquest- CSA, LLC. All Rights Reserved. Only fair use as provided by the United States copyright law is permitted.
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    JK Designs’ Principal, John Kinkade, founded the National Sculptors’ Guild in 1992 with a handful of sculptors who wished to find thoughtful public applications for their work. Representation has since grown to  over 40 contracted sculptors and painters; plus an extended network of over 200 artists that our design team works with on a regular basis to meet each project's unique needs.

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    JK Designs’ Principal, John Kinkade, founded the National Sculptors’ Guild in 1992 with a handful of sculptors who wished to find thoughtful public applications for their work. Representation has since grown to over 20 contracted sculptors and painters; plus an extended network of 200+ artists that our design team works with on a regular basis to meet each project's unique needs.

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