Transformations

Preston Singletary

transformations

S chant z G alleries c o n t em p o r a r y

3 Elm Street Stockbridge Massachusetts

01262

(413) 298-3044

www.schantzgalleries.com

Schantz Galleries Publications Š 2012 Photography: Russell Johnson Design: Silver City Studio

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bove and beyond the formal and technical excellence of his work, the narrative component rooted in Preston Singletary’s work encourages viewers to reflect upon the intrinsic spirit of each sculpture. Working with Preston Singletary to curate this third feature exhibition at Schantz Galleries has garnered greater insight into the artist’s firm commitment to his own growth and development as an artist, and a greater appreciation for the lessons within the stories his art represents.

He continues to challenge himself with the medium of glass exploring new sculptural approaches while bringing us closer to the stories told through the traditional iconography of the Tlingit First Nations people. In an interview for his recent exhibition in Juneau, Alaska, Singletary recently stated, “I have a tremendous sense of purpose with my work because it represents my family, history, community and the confluence of cultures as I experience it.”

We thank Melissa Post for her insightful essay for this publication.

Melissa curated Preston’s museum exhibition, Echoes, Fire and Shadows, which originated at the Museum of Glass in Tacoma and subsequently traveled to the Heard Museum in Phoenix, Arizona, the American Indian Museum Heye Center at the Smithsonian Institution in Washington DC, the Museum of the American Indian, New York and Anchorage Museum in Juneau, Alaska.

We feel very fortunate to represent the art of Preston Singletary.

Preston continues to tell his stories while establishing his own place in history as an artist.

Jim Schantz and Kim Saul Stockbridge, July 2012

Spirit Helper from the Sea

17.5 x 8.5 x 6.5�

Eagle Boy 23.75 x 16 x 3.5”

Killer Whale 19.25 x 15 x 3�

Preston Singletary’s Blessings

by Melissa G. Post

In his latest body of work created for Schantz Galleries, Preston Singletary conjures in glass

the clear vision of a maturing artist. Employing form and ornament in a logical extension of his signature aesthetic, he investigates the theme of metamorphosis. Characterized by their sweeping lines, elegant proportions, and exacting designs, these newest works reveal the thematic continuity of a confident artist continuing to evolve.

While reinterpretations of classic clan crest creatures, from the muscular rendering of Bushy Tail (2012) to Spirit Helper from the Sea (2012) and Killer Whale (2012) set the tone for this exhibition—demonstrating Singletary’s command of formal language, modulating line, light, shadow and evoking nuance in an ever-expanding palette—a brief glance around the gallery reveals that birds, as metaphors for transformation, clearly dominate this series. Whether gliding across the water, lingering, or preening, Oystercatcher, Waiting and Watching, Red Goose and Beautiful Bird (2012) stir anticipation. Sensuous, luxurious, and languid, these novel forms succumb to gravity, fulfilling their destiny as blown glass. Their calligraphic lines coax viewers’ eyes to trace their silhouettes and hands to caress their velvety surfaces. Meticulously rendered formline carvings, characterized by their distinctive ovoid, u, and l-shapes, animate the surfaces and activate our imaginations, while unexpected details such as chalcedony fumed eyes and woodgrained surfaces further enrich these works. Most of these designs are arranged configuratively or realistically, as evidenced by the stylized feathers which are defined equally by their lines and the space surrounding them. Inevitably, by staring into their penetrating gaze, we find ourselves confronted with life’s larger questions both environmental and existential.

In fact, with each of these works, Singletary addresses the idea of metamorphosis, making new

Raven Lost His Beak

30 x 10 x 6�

Waiting and Looking 16 x 8.5 x 8.5�

aesthetic connections by employing shared iconography—of man emerging from or transforming into the creature—as seen in Eagle Boy (2012) and Raven Becomes Human (2012). In A Wise Old Man (2012), Singletary enlivens the classic oystercatcher rattle with sculptural elements and imparts a surge of dramatic tension between the bird’s breast, from which Raven’s visage emanates, and its back, upon which a shaman lies akimbo, clutching the horns of a mountain goat. The fragmented lines of communication imply the stature of a man-spirit transitioning to the afterlife while representing the artist’s own interpretive departure.

Continuing investigation of the bird theme reveals several outstanding works which represent notable artistic advances. Eagle Boy (2012) and Raven Lost His Beak (2012), illustrate traditional narratives. The former recounts the story of how a young boy aided by his “spirit helper,” the eagle, provides fish for his entire community during a famine, eventually assuming his given name, Eagle Boy and becoming chief. The visual drama of this vibrant composition is heightened by its arcing canvas and distinctive eagle head terminus. The latter relates the story of how a thieving Raven loses its beak on the line of a fisherman and regains it by conspiring with the killer whales.

Beyond Eagle/Raven (2008), this is one of Singletary’s finest examples of abstraction. The soaring form recalls Constantin Brancusi’s (French, born Romania 1876-1957) iconographic Bird in Space (1941) while its composition evokes Joan Miro’s (Spanish, 1893-1983) symbol-laden surrealistic paintings. Cloaked in black and carved in a dizzying array of distributive designs—or abstracted elements that fill every space—this tour de force of form and ornament invigorates this ancient Tlingit tale. Finally, Standing nearly two feet high, Raven Becomes Human (2012) manifests as an ethnographic treasure. Unlike the seductive nature of translucency characteristic of Singletary’s sculptures, the burnished patina of this impressive, opaque ivory tusk entices our eyes to remain on the surface and bear witness to the transformation.

Far away from the flame from whence they were birthed, these intricate collaborative works— whose reductive processes tempt fate—stand as testament to the miracle of creation. From blowing to designing and sandcarving, they demand extraordinary commitment from Singletary and a select group of highly skilled artisans working at his atelier. Ultimately, each sculpture serves as a metaphor for both the artist’s journey and our own. Perhaps this is why we welcome the work he bestows upon us like a blessing.

Drawing upon his heritage and looking forward to the future, Preston Singletary remains firmly rooted in the present. Preserving a language, a culture, and its stories is necessary work. Knowing this instills within us a sense of responsibility to help him perpetuate it. By sharing with us his exceptional talent, Preston Singletary continues to elevate our appreciation for his unique art form.

Melissa G. Post is a studio potter, as well as a writer, juror, and lecturer specializing in contemporary craft and design. She has held curatorial posts at the Museum of Glass (Tacoma, Washington); Mint Museum of Craft + Design (Charlotte, North Carolina) and Corning Museum of Glass (Corning, New York). She curated several notable exhibitions including: Preston Singletary: Echoes Fire and Shadows (2008); White Light: Sculptural Compositions by Daniel Clayman (2006), and Constructing Elozua: A Retrospective, 1973-2003 (2003).

Oystercatcher

7.5 x 17 x 10�

Beautiful Bird 21.25 x 9 x 3�

Red Goose

24 x 9 x 4”

Grouse Rattle 19 x 23.5 x 7.5 “

A Wise Old Man 23.5 x 17 x 6�

Black Eyes

13 x 11.5 x 3“

Raven Becomes Human 23 x 8 x 4�

Bushy Tail 15.25 x 13 x 7”

Preston Singletary

Preston Singletary learned the art of glass blowing at a young age and through practical experience, first working as a night watchman at what was then the Glass Eye, a Seattle glass-blowing studio run by his high-school friend Dante Marioni’s father, Paul. He quickly moved to the day shift and eventually joined a production team. He learned hands-on at workshops at Pilchuck Glass School, was an assistant for local artists including Benjamin Moore, worked the hotshops of Venetian glass legends such as Lino Tagliapietra, and studied Swedish design at Kosta Boda.

photo: Dale Christenson

In the early 1990s, Singletary’s artistic style turned from mastering European decorative forms to connecting with his Native American roots (both his great-grandparents were full-blooded Tlingit). His interest in the Modern Art Movement introduced him to the notion of “primitivism”—how modern artists tried to embody the connection that “primitive” artists had to nature. This was a turning point for the artist, who had grown up feeling disconnected to his Tlingit roots in Southeast Alaska. He saw glass as an artistic medium through which he could re-connect with his family, society, and cultural roots and visually express the stories he had grown up hearing.

He has said that “native cultures are always moving forward and adapting to new materials… Representing Tlingit designs in glass felt like a logical next step to me.”

transformations

For his recent exhibition at the Museum of Glass in Tacoma, WA, the museum wrote that Singletary’s “unique interpretations of Tlingit myths and legends are visible in a plethora of stunningly beautiful objects and figurative sculptures, manifested through a complex combination of techniques, including glassblowing, sandcarving, and inlaying. The synthesis Singletary creates through his work melds three worlds—modern art, glass, and Tlingit tradition—into a unique whole.”

Preston Singletary is the recipient of numerous awards and distinctions, including the Rakow Commission from the Corning Museum of Glass (NY), the Mayor’s Award for Diversified Arts in Indian Art NW (Portland, OR) and an honorary Doctor of Arts from the University of Puget Sound (Tacoma, WA). He is also represented in major museum collections such as: the Museum of Fine Arts (Boston, MA), the Seattle Art Museum (WA), the Mint Museum of Craft + Design (Charlotte, NC) and the Handelsbanken (Stockholm, Sweden). He lives and works in Seattle and can be found teaching at Pilchuck, among other institutions, and lecturing on glass around the world.

COLLECTIONS Alaska Museum of Natural History, Anchorage, AK · Brooklyn Museum of Art, Brooklyn, NY · City of Seattle, Portable Art Works Collection, Seattle, WA · Corning Museum of Glass, Corning, NY (Rakow Commission) · Group Health Cooperative, Seattle, WA · Handelsbanken, Stockholm, Sweden · Harborview Medical Center, Seattle, WA · Heard Museum, Phoenix, AZ · Mint Museum of Craft + Design, Charlotte, NC · Museum of Ethnography, Stockholm, Sweden · Museum of Fine Arts, Boston, MA · Museum of Glass, Tacoma, WA · Museum of the Red River, Idabel, OK · National Museum of the American Indian, Smithsonian Institution, Washington, DC · Seattle Art Museum, Seattle, WA · St. Paul's Cathedral, Oklahoma City, OK · Spencer Museum of Art, University of Kansas, Lawrence, KS · Washington Mutual Savings Bank, Seattle, WA · Washington State Arts Commission, Olympia, WA

A Wise Old Man, (detail)

S chant z G alleries c o n t em p o r a r y

a r t

3 Elm Street Stockbridge Massachusetts 01262 (413) 298-3044

www.schantzgalleries.com