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Edward Eyth is an artist of various talents from the United States but his special talent lies in his sculpture pieces. Every inch of one of these pieces is a sight of beauty; From the delicately formed hands to the creases in a dress or wrinkle in face, these statues portray raw emotion that every viewer will recognize. Edward graciously agreed to answer a few questions about himself and his art.
Toonari Post (TP): How and when did you first start practicing your art?
Edward Eyth (EE): I’ve been drawing as far back as I can remember. I wasn’t very popular as a kid, so drawing provided an outlet, an avenue to detach from reality and venture off into my own little world, a world that would contain anything I was able to create. That’s probably what really inspired my interest in art. It’s the absolute joy in creating something that takes on a life of its own, then sharing it, and evoking a response in someone else.
Even with my earliest efforts at creating art (drawings) I was fascinated by the fact that I could make a few pencil marks, some lines, a few forms and if I did it well, anyone who looked at it would know it was a dog, or a person, or whatever. Visual communication. No words required, and you can convey an idea quite well with just a drawing. And the great thing about communicating visually is that the whole world speaks that “language.”
The lines of a simple drawing will communicate “dog” to your friend, someone in China, or even a caveman. In fact, cavemen did drawings thousands of years ago that exist today, allowing us to see something they saw or experienced thousands of years ago. I love that aspect of art; communicating through the ages.
My training includes degrees in Visual Communications and Industrial Design. I learned much of what I know about the process of sculpting through the guidance and mentorship of professional artists, instructors and friends. Few things in life satisfy me more than creating art that speaks to someone else and compels them to want to own it.
I find similar satisfaction in instructing others and sharing the insights I’ve accumulated over the course of my career. I taught an Advanced Visual Communications course at the Art Center College of Design, and I teach private workshops around the country currently. I continue to create representational figurative sculptures and drawings, working primarily from live models.
TP: What mediums do you use for your artwork? Which is your favorite and why?
EE: For two-dimensional work I gravitate to pencil, charcoal and pastel. I’ve made a few efforts in oil paint that I truly enjoyed, but haven’t found the time to develop any real proficiency. Color really excites me; I hope to find more time to paint in the future.
For sculptural works I’ve always used oil-based clay. It’s very forgiving, easy to modify by adding or subtracting and it never dries out, like water-based clay. That’s a big benefit since I often have as many as 20 or 30 pieces in various degrees of completion in my studio. The finished works are molded, then cast in bronze.
Bronze provides an element of permanence to a piece that I really like, knowing that my work has the capacity to outlive me, and endure for generations. Recently I had some success with sculpting stone and I may continue to pursue that.
TP: What piece of your work is your favorite and why? Which one are you most proud of?
EE: My favorite would have to be “Mari,” the first figure I had cast in bronze. It’s one of my most popular pieces, and the one I’ve sold most. I wanted to depict the beauty and eloquence of the female form, in a way that combined strength, confidence, grace and femininity. What resulted is a seated female figure, her hair drenched, having just emerged from the water.
Her foot is lightly perched on the rocky outcrop below. She represents the embodiment of feminine grace, poised effortlessly between the earth, sea and air. The title “Mari” comes from the from the Latin word for “sea.”
Since most of the emotion in a sculptural work is conveyed through the face, I put a lot of effort into the expression of calm reflection in her features, as if she’s quietly reminiscing about something and the hands, which I also labored over to capture a natural pose & gesture. The piece was awarded first prize in a national “Nude in Contemporary Art” competition in 2009.
The piece I’m most proud of would probably be “Olympic Spirit,” a sculpture depicting male and female athletes holding the Olympic rings aloft. It was selected from over 2,500 worldwide entries in the 2008 Beijing Olympic Sculpture Competition. As one of 100 finalists that toured the world, it was exhibited in major cities in China and worldwide.
Read the rest of Edward’s fascinating interview here.
Image Courtesy of http://eyth.deviantart.com