| I have spent many years searching for my true vocation before discovering sculpture. Starting with a mechanical background, I studied and moved to engineering. Working for many years in that field, my search continued. | |||
| Studying with many craftspeople and artists I gained an understanding of many processes and mediums. I spend time and worked with fabricators, blacksmiths, potters, painters, stones cutters, sculptors, mould makers and even a bronze-casting foundry. I came to deeply appreciate all the talents, techniques and skills involved with these materials. | |||
| Sometimes thinking that not focusing on one particular material with which to work could be a detriment, I came to realize that many of the skills required for one medium translated nicely to another. For example, working with clay pushes me to try to create softer more fluid lines in steel. It also makes it a natural process for me to create work comprised of more than one material. From working with vessel forms much of my attention is concerned with the importance of the relationship between the interior and exterior aspects of the piece. From the subtle suggestions in wood such as a hole piercing the work and showing a glimpse of the inside of the form, to steel forms where half the form is exterior surface and half is interior, with different viewing angles revealing changing proportions of each. This interior / exterior relationship is true in the human condition of us all, some exposing very little of their interiors while other expose greater amounts. I believe this aspect, as well as the curves and proportions in my work, give the viewer an intuitive connection to the form. | |||
| To arrest the viewer and not lead them back into life with an opinion about it but to create an occasion for contemplation, this is my purpose. For me being a sculptor is best described in the words of the late Davis Smith; "... The work flow of energy demanded by sculpture wherein mental exhaustion is accompanied by physical exhaustion, provided the only balance I've ever found, and as far as I know is the only way of life." | |||
| My passion is creating forms that the viewer can respond to intuitively. Perhaps by the recognition of a certain curve or proportion that may suggest something human or of the natural world. Thus, providing an instinctive place from which to begin to relate to the work. | |||
| Primarily self taught in ceramics and sculpture, I have followed a path of learning which has included both traditional as well as non-traditional forms fo study, including: | |||
| University of
Maine at Orono Orono, Maine |
Art
History and Studio Arts Foundation 1994 |
||
| Haystack School
of Craft Deer Isle, Maine |
Workshops in clay and forged iron 1994-1997 (Recipient of Pearson scholarship) |
||
| Penland School
of Craft Penland, North Carolina |
Workshops in clay and forged iron 1996 |
||
| U.S.
Bells Prospect Harbor |
Worked in all phases of sand casting bronze 1995 |
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| Alfred State
College Alfred, New York |
AAS
Degree 1985 |
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| Recent exhibitions: | |||
| Attleboro Museum Show Attleboro, Massachusetts |
1995 | Island Artisans Mount Desert, Maine |
1997-2006 | |
| Society of Arts & Crafts Boston, Massachusetts |
1995, 1996 | Hay
Gallery Portland, Maine |
1999 | |
| Artists of a Different Caliber Hewlett Gallery Carnegie Mellon University Pittsburg, Pennsylvania |
1997 | Greenhut Galleries Portland, Maine |
2004-Present | |
| Artist Blacksmith Association Of North America Biannual Show, New York |
1997 | Courthouse Gallery Ellsworth, Maine |
2006-Present | |
| Union River Gallery Ellsworth, Maine |
1997, 1998, 1999 | June LaCombe SCULPTURE Hawk Ridge Farm, Pownal |
2005-Present | |
|
Robert Lash’s work is represented in numerous
private collections throughout the country. |
Robert Lash - 46 Central Street - Gardiner, Maine 04345
Phone: (207) 749-4212 E-Mail: info@robertlash.com
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