MyWorld

By Gangelhoff, Bonnie | Southwest Art, July 2007 | Go to article overview

MyWorld


Gangelhoff, Bonnie, Southwest Art


A visit with the sculptors of the PURPLE DOOR STUDIO in Denver, CO

Why do you choose to work in stone?

Mark Brodie: People have an innate attraction to naturally occurring materials such as wood or stone. Even outside of art and sculpture, we are drawn to stone in our environment. Who doesn't love the sculptures of the Grand Canyon, Arches, or Canyonlands national parks?

Eric Marshall: Stone is in my family blood. My great-grandfather on my father's side was a stone sculptor in Kentucky, and on my mother's side, my great-grandfather worked in the quarry in Marble, CO, in the early 190Os.

Tom Weeden: Stone seems the most primitive of materials and has its own natural beauty.

Madeline Wiener: I love everything about stone-the textures, lines, and forms that can be created are endless and the mechanics are very thrilling. I love the sounds of the stone from the beginning days of using the hammer and chisel to the rhythmic sounds of filing and sanding.

What it the most challenging aspect of working with the material?

Mark Brodie: The greatest challenge is also the most obvious-moving the stone. secondly, if you make a mistake, you have some serious rethinking and adjustments to make.

Edy Chemiack: If I have something in my head, the most challenging thing is to reproduce it.

Michael Clapper: The dust.

Dave Holton: It's challenging to rough out a shape from a block of stone. It takes a lot of time. We use 30 to 40 percent of the stone we start with; we remove more than we retain.

Josh Wiener: The amount of time it takes to refine the surface.

Madeline Wiener: When I first started to carve larger stone, moving and handling it was the most challenging. Now, I'd say that with age, maintaining long hours and using heavy tools are the most challenging. But I'm up to it!

What are some of the tools you use to create your sculptures?

Vanessa Clarke: Angle grinders with various sized blades, which I use for roughing out a sculpture and adding textures. Pneumatic air hammers and chisels for detail and texture.

Dave Holton: Hydraulic diamond chain saws, electric saws and grinders, air saws and grinders, and diamond sanding pads.

Tom Weeden: Spinning blades, hammers, chisels, carbide, sandpaper, eyes, ears, and hands.

The studio n dusty and noisy. What precautions do you take to protect your health? Michael Clapper: The usual outfit includes a dual-cartridge respirator, anti-vibration gloves, hearing protection, and eye covering.

Vanessa Clarke: I have a respirator that I wear over my nose and mouth. Goggles protect my eyes and I have ear protection with a built-in radio. The studio also has a filtration system that helps trap the dust and keep it to a minimum.

Tom Weeden: Headphones, respirator, eye protection, hard-toed shoes, and back support.

What inspires your work? Mark Brodie: I am attracted to simple, clean lines. These types of lines and forms are found all throughout nature in places like sand dunes, patterns made by ocean waves, wind- or watereroded rock, or even complex mathematical formulas. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

MyWorld
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.