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Direct carving is very different from additive methods and "plastic" carving. In additive methods, for example clay modeling and direct plaster, an armature or core is created and the medium is built-up around the armature. It is also fairly easy to change or "correct" clay and then re-build. In "plastic" carving a maquette or model is made using additive methods, frequently in clay, and then copied into the stone [not necessarily by the artist]. Direct Carving, on the other hand, is a very intimate experience in which the artist liberates the forms inherent in a particular piece of stone [or wood]. By working with the properties of that stone including the grain, crystal structure, texture, hardness, fault lines, shape, etc., a unique artwork is created. Working within the specific limits of each piece of stone my goal is to create a sculpture that moves outside its own boundaries. Stone for all its hardness and strength is very fragile and can be easily bruised and broken. It can also be incredibly recalcitrant and "bite back" forcing a collaboration between the stone and artist in which, it some times seems the stone has the upper hand. The act of direct carving becomes a physical form of meditation in which mind, body and matter work in concert creating dance that moves beyond limitations. The hand tools I use -- hammer and chisel have not changed very much from the beginnings of human time. The act of carving and having a relationship with stone is deeply rooted in our collective past. People have always had special connections with stones as shown by Stone Henge, Cycladic Figures, the Venus of Walendorf, etc. Stone is in many ways the building blocks of our cultural history. Sometimes, as simply a construction material, and other times as a vehicle for our aesthetic, religious, and intellectual symbols and ideas. In this age of industrialization and virtual-almost-everything, when most people do not understand the everyday tools they use, and with our current emphasis on computers - the act of creating stone sculpture is in fact, revolutionary. Physical, intimate, meditative, with a tangible result. It is an extraordinary experience.
Biography: AWARDS Nessa Cohen Memorial Fund Grant ASL, Sculpture 1998 Nessa Cohen Memorial Fund Grant ASL, Sculpture 1997 EDUCATION The Art Student's League of New York: Life Drawing, Sculpture 1978, 1991-2001 The National Academy of Fine Arts, NY Figure Drawing 1997,2000 Sculpture Center School & Studio, NY Stone,Wood, Wax 1995-1996 The City College, CUNY-School of Architecture, plus Sculpture & Drawing RELATED EXPERIENCE Five Towns Art & Music Foundation Instructor - Sculpture 1999 The Art Student's League of New York Saturday Sculpture Workshop 1996-2001 Teacher’s Assistant, Sculpture 1994-1996 EXHIBITIONS Crane Street Studios Open Studios May 2003 46-23 Crane Street, LIC, NY 11101 Oct&Dec 2001, May&Nov 2002 Art Frenzy. Sponsored by The Queens Council on the Arts May 2001 Art Students League of New York Concours April 1992 – 2001 Santarella Gallery, Tyringham, MA Summer Season 1997,1998,1999 CW Nelson Landscapers, Sandisfield, MA Summer Season 1998,1999 Cork Gallery, Lincoln Ctr, New York ASL Grant Recipients Feb2000 Brewster Arts, 41 W57 St, New York ASL Grant Recipients Jan1999 La Galer?a at Boricua College, New York Major Leaguers: April 1998 5 Sculptors from the Art Students League Williamsburg Art & Historical Center, Mother Earth Celebration: April 1998 Brooklyn, NY Hudson Grill, New York The Eyes of March March 1998 Rathborne Gallery, SAGE-JCA, Albany, NY The Contemporary Figure June 1997 Art Students League of New York Monitor’s Show Nov 1996, 1997 Sculpture Center, New York Studios Exhibition June 1996
Country: United States of America
E-mail: Maurine_Holmgren@hotmail.com
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