Some Thoughts On My Work

        Sculpture is for me a way to convey things that are extremely difficult to express. Much as music can express abstract ideas, or poetry can take familiar words and breathe new life and meaning into them, sculpture is an opportunity to communicate ideas that don't fit into any other language. My works are a combination of emotion, philosophy, spirituality, sensation, poetry, music... subconscious thought, desire. The human spirit always seems to be seeking something better. Sculpture is a daydream made real, a final expression of all the thoughts, wishes, dreams and emotions that constantly course through my mind.

        The actual process of making  these sculptures has evolved over a number of years. I tried at one point to sketch on paper and then pursue the idea in three dimensions with a model. It was difficult in sketching to try to anticipate the full three-dimensionality of what would result, so I finally started working from the start with three-dimensional models. I think the result is that sculptures since then have become more interesting from all angles. Each sculpture changes substantially as the point of view changes. This to me is symbolic of perception in general -- the fact that point of view is so important. Our feelings and perceptions about people or events depend to a great extent on our relationship to them. It is only by looking at things from all conceivable angles and points of view that we can fully appreciate and understand.

        In their construction and materials also, the sculptures reflect deeper issues. The fact that they are all constructed out of relatively thin sheets of metal reflects a desire to create something out minimal material. As opposed to working in stone or bronze castings, this "constructive" technique is faster and consumes less material. The sculptures can be light and airy while occupying considerable space. Or, with broader shapes cut out of thicker material, they can be solid-looking without weighing tons. The fabrication processes of creating shapes, cutting, bending, and finishing the parts and welding them together, the final patination or coloration, these are things I continually try to develop and refine. The development of technique is a key element of being an artist. Every detail of the conception, design and construction of the work should be a thoroughly developed, conscious effort.

        I believe an artist should  be a master of his craft. Otherwise he will never be able to realize his visions. There seems to be a popular notion today that anyone can be an artist, that anything can be art, that whatever a human being creates is somehow good if only the person's intentions are good. This to me is only half of the equation. It takes the spirit and inspiration of creation as well as dedication and hard work in order to be an artist. All of the artist's I admire have mastered their media at least to the extent appropriate to their ideas. However, I also feel that craft for craft's sake is as disappointing as a good idea poorly executed. Putting a sculpture together in a masterful way and lavishing minute and painstaking attention to detail is useless if the concept behind the work is questionable. Similarly, too high a finish quality on any work can be just as bad as poor craftsmanship. I try to create something that is very well put together and will last a long time, but that does not seem too "pretty." The details should hold up to scrutiny and support the sculpture without calling attention to themselves.

        When I first started making sculpture, I was striving for pure non-objective abstraction, forms that did not resemble anything at all. This was in part a reaction to the previous thirty centuries of sculpture being mostly about the human figure. What, I thought, could I possibly do that hasn't been done already a hundred times? Then at some point I started to realize that much of my work, if not figurative per se, had at least a hint of gesture or a suggestion of the human form. I started to wonder, is it possible for a human being to create something that is truly devoid of human reference? The end product of this line of thought would seem to be Minimalism. Though I find the idea intriguing that a work of art could be no more nor less than the object, I must ultimately reject Minimalism as much as I reject art as social commentary. For me, to try to take all association and meaning out of a work is just as futile and undesirable as trying to pack in a host of statements, connotations, or social criticism. Finally, instead of reacting against the presence of the human figure in my work, I decided to recognize it and make it a more conscious, if subtle, direction.

       This also reflects my feeling that a good sculpture must be its own entity, have its own soul, in a way. It should have a distinct identity and personality, much as each person has a unique and distinctive personality. For me, the most meaningful and memorable works are those which make a personal connection, that make me feel that I had gotten to know the artist in some way. Even if the person who made the object lived two thousand years before I was born, that person's work can still exude a living presence, and strong personal and emotional feelings. In the end, a work should leave the impression of one's just having met someone, someone not likely to be forgotten.

- Eric Peltzer