Rick Springer / Stone: Animals and Objects

To begin a sculpture I start by considering the stone.  There are limitations of shape, texture, strength and kind of stone, but within those limitations there are endless possibilities. I made a long stone bowl of dense granite, for example, it is actually a boat that floats on water.  I learn as I work, liking challenges and solving problems, but it does not come easy.  This is the kind of hard work that makes or breaks you. Now-days there are lasers and water jets that cut stone, but I work with hand tools (some are electric), it is labor intensive, but you learn sensitivity to yourself and the rock doing it this way.

I like being efficient, owning my own style, knowing sound principals then stretching the ideas.  Doing this kind of work is like chess parables—looking ahead, taking steps now to solve upcoming problems.  Sculpting stone, I become totally engaged, I feel the stone and feel the weight of my strokes. I get locked into a short depth of field that can be like entering a micro-world; the strike of hammer and chisel on stone creates a “big bang” burst of dust, a universe in stone dust.