[Janel]

I thought his work looked familiar, TCP was introduced to his work and web site in September of '06. Thanks for the good reminder and suggestion in regard to figure study.

Janel

[Janel]

Very right! Thanks for the good reminder.

[magnus homestead]

Hi Ford,

I must agree with your "magically transported" analogy - I have been blown away by Norbury's work since I first saw it - it is hard to find modern sculptors with as much beauty and creativity, etc. as his work conveys.
I have one of his tutorial books and it is interesting to note in his introduction that he finds the human figure constantly new and mysterious and is still discovering new nuances with each project.
How about a miniature harlequin complete with all the inlay work in metals?
Thanks for the web link.
Namaste,
Magnus

[Simon F]

I like his reference to Laurence of Arabia in the tutorial for setting diamonds in wood - the secret is not minding the pain !

[wunderlich]

Hallo all,
I agree with Ford. I miss something in Ian Norbury`s work too. And this is not only how he treats the figure. I feel there is no other concern than making something purely decorative. Normally I do not have any problems with art that pleases the eye, but Norbury simply repeats very old subject matters without adding something personel to the work. He leaves us with a big emptyness.

As requested here are some pictures of work I appreciate:

The first one is a german/polish renaissance sculptor, who made very expressive work.
Veit Stoss - Detail of Bamberg Altar

This one is a wood sculpture made by Baltasar Permoser- a sculptor of the baroque age. The metalwork was made by the workshop of Melchior Dinglinger (one of the most famous german goldsmiths)
Negro of the Green Vault - Dresden

This is a link to some work of a Berlin-based sculptor, whose work I really like.
Hans Scheib - Berlin

Berlin-Karl

[Leonid_g]

Hi all.

All works Ian Norbury are excellent. I think, sculpture and pictures of the tree will be more popular in collectors. It is very heavy (impossibly) to counterfeit them.

[Phil White]

I have to agree as well, although I do like much of his work. Although I like the way in which he is experimenting with different forms and materials, I find the end result to be overwhelming. However, it obviously works for many. I do own one of his books, The Fundamentals of Figure Carving, and I think it is quite good.

Breathing life into a wood or stone figurative sculpture is surely on of the most difficult tasks to achieve for any sculptor, regardless of the size of the work. It's much easier to accomplish in bronze or ceramic, as the end result is essentially a direct copy of a work that you have had the opportunity to create and recreate in a malleable material until you get it just right.

As Karl has shown, this seemed much easier for the old masters to achieve. Karl, I'm surprised you neglected to mention one of your countrymen in your list: Tilman Riemenschneider

Anyone seriously interested in studying the work of this genre should pick up a copy of Michael Braxandall's book: the Limewood Sculptors of Renaissance Germany. Nothing like learning from the best.

Here is a link to one of my favorite contemporary sculptors, who I believe has succeeded: Joe Faffard

Phil

[Mark Strom]

As Phil said the Limewood Sculptors book is a fantastic book and Riemenschneider's work is something to behold.

I have followed Norbury's work for years. His work shows technical skill few can match in modern wood carving. His earlier work from the 90's had movement, vitality and life. Having said that, what I now see on his site seems to focus on his technical skill with combining different woods and materials. It is obvious he puts great effort into his design and planning to produce beautiful pieces. One must admit they are beautiful.

To my eye its seems a shame that he is pushing his technical instead of artistic limits. Place his current work next to his earlier work and you can see the difference. From my perspective he is now producing very elegant, beautiful and expensive decorations. Not much life in them. His work is still tremendous.

There are some carvers out there that do really life like work. Carvers like Fred Cogelow, Gerald Copeland or David Johnson. Their work can be found at the following site. Just click on Past Show Pages.
http://www.awcltd.or.../past_shows.htm

Mark

[Karl Carvalho]

Aloha Phil,

I would interested in your (or anybody else's) impression of your "fellow" Canadian's work, Arnold Mikelson.

KC

[magnus homestead]

Hello,

I agree with most of the comments expressed here about Norbury's work. I am still entertained and delighted with what I see - I would like to see the earlier pieces that Mark is talking about.
Here's an artist I like - not carving, but bronze works - He is a local artist here in the North West, but I'm curious what Phil, Mark and Ford have to comment on his work. I like his "exotic women" series the most, but there are a few other pieces I think have some good life energy. Martin Eichinger
Ford, your comment on the lack of skeletal sense in Norbury's work made think of a tutorial book by Bruno Lucchesi who takes you through a terracotta project of building a figure by first creating the skeleton and then adding muscles and finally skin - all out of clay - I only read it and looked at the pictures, but I think it would be quite a good learning project.
Namaste,
Magnus
P.S.
Aloha Karl, haven't seen you for a while - what's up?

[Mark Strom]

Hi Magnus,
I looked at Eichinger's work and found that I have seen it before. Overall I like his work, it does not move me though. To me most of it is just to romantic and the individuals have the sparky clean look. By sparky clean I mean they look like they have no imperfections, perfect beauty, perfect health...they lack character. There is plenty of movement but its all ballet without tension or resistance.

My preference in sculpture leans more to the gritty and ordinary man look. Characters that look like ordinary folk that have worked, suffered, struggled as well as loved, laughed and lived.

As Phil said, putting life into work is difficult at best so to accomplish that on even a moderate level is something. Keep in mind also that images of struggle and high emotion are not that marketable. Next time you are around a wealthy client bring up a topic concerning injury or hardship and watch for the reaction. From my experience they act like it is contagious, that is of course unless the client knows you really well!

Mark

[magnus homestead]

Thanks Mark - I really can see what you mean - Martin's work does have a "clean, linear,romantic idealism" that would appeal to the upscale client. (He was selling quite well when I last actually talked to him.)
You've given me something to ponder here as well as the comments about Norbury's work given by Ford, Karl, Phil and yourself.

Magnus

[wunderlich]

Hi there,

a bumbling educational tour to some european museums (Uffizi gallery Florence, Louvre Paris, Berlin Museumsinsel, Prado Madrid.... ) or to L.A. or New York might enhance the taste in general. Looking at good stuff causes good stuff.

cheers, Karl

[Phil White]

Again, I have to agree. Although the work is well-done, and I suspect commercially successful, it doesn't really move me. However, I am certain that the artist has the ability to do so. It reminds me a bit of Frederick Hart's work: Link which I like very much.

Karl C, I'm not familiar with this person's work, but I suspect that the photos don't do his work justice. I wouldn't want to pass any comments without better images.

Berlin Karl, Absolutely right, it's always good to have examples of the best work to guide and inspire you, whether in Europe, or elsewhere.

Phil