Environment and Health

For the past twelve years while working in my studios I have also worked with a completely different kind of medium that has intrigued, stimulated, and provoked my thought. This medium which is snow, has provided me with an association and dialogue with other snow sculptors and designers that increasingly effects my research into my work. This activity is on a global level and takes me to many different countries and cultures. The international dialogue has expanded my horizons and attitude about my place as an American sculptor, my choice of material and form, as well as my artistic political responsibilities. These dialogues with sculptors from other countries around the world have lead to the global concerns facing us all . . . environment, quality, and appropriateness of the use and implementation of sculpture.

The qualities of building large scale monumental sculpture in snow has provided me with ideas to consider concerning natural materials, permanence, temporary/momentary existence. The fact that the piece is created in large snow mass that must be absolutely pristine clean and clear coupled with the fact that it needs no shipping, handling, crating and is non-toxic and in the end is reduced to nothingness by melt, are unique ideas for me. The impact that global warming has had on snow sculpture constructions, competitions and organizations has greatly affected my ideas in the sculptural context.

Building sculpture for the moment that completely disappears naturally is an exciting concern for me. This is probably one of the few qualities of building that is harmonious with nature. The documentation, photograph and video are the only lasting physical manifestation of the artist's statement. This situation directly opposes traditional sculpture permanency.

Having worked 35 years in different sculpture mediums and capacities has also been in conflict with my personal health issues. I have found that working with any material over extended periods of time leads to fundamental reactions to those materials that directly effect different aspects of my health. These exposures have lead to some occasional incapacitation of breathing, nerve damage, and organ poisoning that in my case are fairly minimal but have lead to hospitalization and injuries. Many of the materials I use are resign-based chemicals. Significant welding for years has also lead to minimal damage for eyesight. Massive material injuries have resulted in broken bones. These are concerns with everyone in the arts and it is another constant challenge faced by me in the studio. Repeated exposures to these kinds of situations I believe are necessary for the artist who must also work with emotional tactile and physical involvement in the work. Unlike the factory worker, technician and other fabrication industries the sculptor/artist must also develop a personal relationship and expression with the materials that is inherently dangerous to their health.

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