Thursday, August 7, 2014

A Closer Look at The Veteran's Monument

A few weeks ago was the 70th anniversary of the WWII battle of Normandy and D-Day. As I watched the Veterans being honored on TV, I remembered what a great honor and privilege it was to work on the Veteran's Monument for Hartsville SC. I remembered all the Veterans that my dad and I interviewed for the project. These men and women had the most amazing stories and details that we were able to add into the monument. I thought it might be nice to share a few of these stories.

The first panel of the monument was WWI. The figure in the front is actually a portrait of my great grandfather, William Hardy Russ. He actually looks a lot like my dad and uncles. Grandpa Russ served with the 118th infantry of the 30th Division aka "Ole Hickory". He was in the Signal Corp, responsible for communications mostly by telegraph. 
While creating this sculpture, Dad and I wanted to include lots of small details that would forever capture the stories we heard from the veterans and invite viewers to pursue more stories on their own. The portrait includes one of these small details; a tiny Signal Corp button on Grandpa Russ' jacket.


Each panel of the Veteran's Monument was created with a different feeling. The WWII panel is the most proud of the five. The WWII veterans that we interviewed acknowledged the horrors of war, but they all showed great pride in their service and what was accomplished during the war. The figure in the very front was intentionally made to mimic a beautiful painting, "Americans at War" by Norman Rockwell.

The man just to the left, in the bronze WWII panel is a portrait of William (Billy) Farrow. A native of the Hartsville area, Billy Farrow was a part of the Doolittle bombing raid over Japan. He was captured and ultimately executed. In the sculpture he holds a letter that was written to his mother before his execution.
"Don't let this get you down. Just remember God will make everything right and that I'll see you all again in the hereafter. . . . Read "Thanatopsis" by Bryant if you want to know how I am taking this. My faith in God is complete, so I am unafraid." -William Farrow



For the third panel, we decided to have the central figure giving a "thumbs up" signal, as is common among fighter pilots.  Since this was the first great conflict in which jet airplanes were commonly used in combat, we wanted the scene to include an authentic representation of that.  The Korean War is often referred to as the "forgotten war" because of the lack of attention it received both during and after the conflict. This is also due to the war's position in history between two of American conflicts (WWII and Vietnam) that were so large. The Korean War panel shows the only figure of the entire monument that makes direct eye contact with the viewer, drawing him or her into the scene and begging them not to forget his time Korea. 


The Vietnam War panel conveys a different mood. We observed from our interviews that this conflict did not end with a victorious and heroic atmosphere like WWII; so we tried to communicate that through the artwork.  Many veterans that we interviewed suggested that the message that Dad and I should try to convey is simply one of tragedy. In the center of the panel there is a female nurse holding a dead GI. This is the only dead soldier depicted in the monument.



Out of the five great 20th century conflicts, the Persian Gulf War was most recent in American history.  During Operations Desert Shield and Desert Storm the US forces had to be ready to face a chemical attack. They were facing an enemy that had already shown both the capability and willingness to engage in chemical warfare. This threat of chemical warfare added a whole new dynamic to the horrors of war. The unforgettable image of soldiers in gas masks haunted Americans who were shown televised pictures from this war like never before.


Tuesday, June 10, 2014

The hands of John Singer Sargent

So... John Singer Sargent is my favorite painter, of all time. I have probably only mentioned it 1,000 times on this blog! He was an amazing draftsman. He had a rare ability to capture color and light. Even the greatest artists throughout history have a few bad pieces, but it seems as though everything Sargent touched ended up to be a success.

One aspect of Sargent's work that I really love is how he paints hands. Many artists are shy about drawing, painting, and sculpting hands. 
But hands are usually my favorite part of a piece of figurative art.

I enjoy studying Sargent's paintings. It is important to study and practice your craft. And studying his sketches is an awesome way to look at the notes left from a master's problem solving. 




One of the most amazing and frustrating things about Sargent is his ability to accurately capture shape with loose gestural brushstrokes. The painting seems so effortless. Yet, each line is intentional. There is nothing careless about it.


Really... is there anything better, in the whole world?

Friday, June 6, 2014

The Ascension of Christ (Sneak Preview)

A few days ago I put out a "preview" of a sculpture Dad and I have been working on. I was very surprised that this low quality image seemed to draw so much interest. For now all I can say is that this is a photo (cellphone) of the Ascension of Christ. It will be cast in bronze and erected in Greenville SC.  I will post an update of the project soon with more information, location details, and MORE PICTURES!!

Sarah

I got married in Dec. 2013, to this beauty. My dad surprised us at the reception with a beautiful portrait of Sarah. I am often influenced and inspired by his work. So, naturally, I decided to paint my own version of my beautiful bride. 
This is my painting.
My wife, Sarah.


Tuesday, April 8, 2014

Sculpting class with Philippe Faraut




Recently, my dad and I had the privilege of attending a figure sculpting class with Phillippe Faraut at The Ringling College of Art and Design in Sarasota Florida.


From his website bio:
Philippe Faraut received his degree in woodcarving and the construction of French fine furniture from Germain Sommeillier in Annecy, France, his boyhood home. An avid traveler, Philippe's destinations have allowed him the opportunity to study the cultures of many countries in Europe, Asia, Africa and the Caribbean, thus influencing his work in portraiture sculpting. After establishing residence in the Chesapeake Bay area of Virginia, he developed an interest in modeling the head in clay. Soon thereafter, he relocated his studio to New York State and began teaching sculpting classes.






The class had 20 or so students who had traveled from all over to attend this class. Some of the students were taking one of Phillippe's classes for the second or third time.



We started by creating clay"sketches". These 10-15 minute sculptures really helped work on gestural poses and anatomical proportions while becoming familiar with the medium. 
I was not used to using the water-based clay. 
Because of drying issues, I have always used an oil-based clay. 



We started our larger piece by sculpting a lone torso. 
No arms, legs, or head yet. 


Dad is concentrating on his craft.



The second day we were allowed to proceed with the head and neck as well as the legs and the feet. Before starting a new part of the body, Phillippe gave a great demonstration on how to attack each area. I was surprised at how much of the class concentrated on anatomical lessons. Taking several anatomy classes at SCAD, I thought I knew a lot. I was quickly aware of how much I need to learn.

I really enjoyed learning about how to sculpt feet!

Here, Dad is getting some hands-on help.


On the last day, we added the arms and hands. We also learned Phillippe's technique for surface texture as well as how to protect water-based sculptures as they dry.


Because Dad and I elected to fly to and from Sarasota we were not able to bring our pieces home. Dad destroyed his. Always the conservationist, he cut his sculpture into pieces so that the clay could be reused by the next class. Before I could cut my piece up, a fellow student asked if she could have it. I was very happy NOT having to destroy it.

Over the Mantel Opening

A few weeks ago, a new gallery opened in Columbia South Carolina. 21 artists, including myself, showed work for an opening night crowd numbering in the hundreds. Many of the artists share studio space right next door to the gallery at Studio Carlisle.


The wine, snacks, music and people poured out the door of the gallery and into the street. 

The work shown represented various artistic backgrounds and styles. There were nonobjective pieces, abstracted still lives, charcoal sketches, as well as traditional watercolors and oil paintings. I had seven pieces in the show.
So if you are in the Columbia area, head over to Carlisle Street, off Millwood, and check out the Over the Mantel gallery.
803) 719-1713


Tuesday, December 24, 2013

TOWN MAGAZINE 12/13

Last year, as a part of Artisphere in Greenville, The Greenville Journal hosted an online art competition. Local artists' work was posted on the Greenville Journal Facebook page. Individuals could then vote (only once) for a painting or sculpture as their choice for Best in Show. I had two paintings in the show. "Garibaldi's"
Oil on Canvas
95"x 65"

and
"Billiard Players"
Oil on Canvas
30" x40"

"Billiard Players" received lots of votes but did not win the contest. "Garibaldi's" however, received more than 1,100 votes and WON the contest!! A few months later, TOWN magazine, who is owned by the Greenville Journal, decided to write a short article about yours truly.


Check out pages 56-57 of the December issue of TOWN magazine!!