Tuesday
Aug222017

Sculpture featured on Saatchi Art Gallery

I’m very pleased to let you know that my artwork work has been chosen to be featured in the New Sculptures for $5000 and Under Collection on Saatchi Art's homepage. You can see the collection here 

 

 

 

 

Friday
Apr102015

Review by Charles Donelan at the Santa Barbara Independent

Review: Arts Fund Sculpture Survey

Eight Artists Explore Another Dimension


Wednesday, April 8, 2015

Although the physical dimensions of the room remain the same, under the direction of Brad Nack, and with Nancy Gifford co-curating, the imaginative space manifested by the Arts Fund Gallery continues to grow. With this new Sculpture Survey, which is on view through April 25, the team of Nack and Gifford takes the measure of several generations of Santa Barbara sculptors, and the result is both fresh and inspirational. These aren’t just eight good sculptors; these are eight strong artists in the broadest sense, meaning creators capable of transcending categories and defying expectations while simultaneously delivering intense aesthetic pleasure. From Claire Frandsen’s “Pocket-Sized Conan” [O’Brien] to Ed Inks’s imposing and bulbous welded wire piece “by all odds,” there’s a continuous sense that, by embracing three dimensions, these artists also break free of many of the constraints of artistic convention.

“The Rhino’s Guard”

Three small objects rendered in bronze, silver, and copper represent Frandsen’s work. There’s the aforementioned pocket Coco, instantly recognizable even in this semi-abstract striding figure portrait. Then there’s “The Rhino’s Guard,” a scary/blingy riff on brass knuckles, and finally “Wild Game,” a mini-menagerie. Frandsen has a neat sense of scale and an original, offbeat tone that elevates these tabletop oddities even as they slip over and around the ordinary expectations for subject matter in bronze.

In Westmont faculty member Nathan Huff’s work, tall, skinny metal plinths sometimes emphasize the vertical aspirations of his highly personal constructions. For example, his “Self-portrait at 34” shoots up to chest height before coming together in a delicately balanced tangle of miniature balsawood chairs and a hammer. The hammer-and-chairs motif returns on the horizontal in “Wisdom Council on Work,” and the soaring stand comes back into play in his third object, the timely “Drought & Blob,” which imagines stretched animal figures as the captives of a familiar water faucet.

In this show, the Arts Fund Gallery’s big entrance wall belongs to Ben Eckert, a recent product of SBCC’s sculpture program run by Ed Inks. While demonstrating certain distinct points in common with his mentor, including the use of carefully bent, brightly colored wire, Eckert’s sensibility causes him to gravitate more frequently toward straight lines and right angles than the curves and spheres so evident in Inks’s work. Eckert employs an unusual naming convention involving eight-digit numbers. Thus his most colorful statement, “20140227,” a carnival of intricately turned, bright-green wire set in boxes of purple with orange accents sneaks into the viewer’s unconscious disguised as a statistic.

SCULPTING HANDS: The entrance wall of the Arts Fund Gallery belongs to Ben Eckert, one of several artists in the Sculpture Survey exhibit currently on display. A recent product of SBCC’s sculpture program, Eckert gravitates toward straight lines and right angles, such as the work pictured, titled “20141022.”

Michael Arntz, who taught sculpture at UCSB until 2003, contributes three of the show’s most dynamic entries. “Blue Moon,” a substantial stoneware work, displays the same mottled animal-stripe patterning and serpentine, bulbous shapes that make Arntz’s other large piece, “Inorganic Creativity,” so memorable. At the same time, and on a smaller scale, his various iterations of “Stone soup for you?,” a sly riff on the “primitive” vessel, and the beautiful, mysterious split cube known as “Broken Symmetry—Life on Earth” demonstrate the artist’s facility with repurposing the coral-like irregularities of mineral deposits. Arntz is an important Santa Barbara artist. Let’s hope he receives a well-deserved retrospective soon.

R. Nelson Parrish’s “Gaviota 2015,” with its dangling “reclaimed saw mill flitch” and sea stones, makes a great companion to the earthiness of Arntz. Occupying the other end of the spectrum between nature and culture, Greer Mehler’s sculptural renderings of ice and snowfall rely for their effect on the artist’s talent for repurposing industrial materials. In the show’s only openly participatory installation, Shannon Willis has created a device for capturing the viewer’s emotional charge, the aptly named “Tear Collector.” Like the rest of this excellent survey, it presents a welcome challenge and a refreshing shift from our everyday ways of looking at art. The artists will gather for an informal discussion of their work in the gallery on Friday, April 10, beginning at 6 p.m.

Saturday
Feb282015

The Arts Fund Sculpture Survey
 Opening - Friday, March 6th5-8pm

You are invited!
 

 

The Arts Fund Sculpture Survey

 

Featuring: Ed Inks, Greer Mehler, Michael Arntz, Ben Eckhart, Nathan Huff, Shannon Willis, Claire Frandsen, R. Nelson Parrish.

 

Curated by Brad Nack and Nancy Gifford

 

This show features a collection of contemporary sculptors who work with objects and forms and their relationship with the void that is created by these shapes.  

The Arts Fund is excited to bring a 3-D show with such an accomplished and diverse group of artists to the Funk Zone.

 

The exhibit runs from March 6, 2015 to April 25, 2015

 

The opening reception will be part of the Funk Zone Art Walk on Friday evening March 6th from 5 - 8 pm.

 

For more information please visit http://www.artsfundsb.org

 

The Arts Fund | 205-C Santa Barbara Street | Santa Barbara, CA. | 805 965-7321 | Wed. - Sat. noon - 5pm. Sun. 11 - 5pm.