THE ALCHEMY OF DON
GUMMER
DETAILED SHOT OF 12 12 12, STAINLESS STEEL WITH BLUE STAINED GLASS, 9 1/2 FT. TALL
interview by Amy Tanner photographs of Don Gummer and his work taken at his NYC studio by photographer Jane Feldman
On a sublime autumn day this past November I drove into Connecticut to interview Don Gummer, one of the premier American sculptors of our time. His work was on display at the Morrison Gallery in Kent, Connecticut, and I had taken the opportunity to view his technically precise, strangely beautiful pieces. After strolling amid bronze disks spinning in space, divided boulders held in infinite free-fall, and bewitching geometric shapes lifted to new heights by an active, lyrical structure, I met him at his studio... I park beside the exterior of the industrial gray studio. A few sculptures placed to either side of the building tease, drawing you in, and you see that on the other side of the building a sweeping emerald lawn flows down to the intensely green lake, perfectly reflecting the pine trees rising across the water. The effect is magical—the bronze and silver sculptures on the grass appear to almost dance. The studio interior is stark with geometric drawings stuck to the walls—some drawings are sketched directly onto the wall. There are two tables—one for construction, one for computer work. A sliding glass door opens to a deck and a delicious view of the lake. Don himself is deceptively unpretentious and plain-spoken, but the depth and grandeur of his vision establishes itself early in our conversation. We talk (he does; mostly I just listen) about creativity—alchemy, really—the process of moving ideas from theory to substance. We also discuss inspiration, the practice of creating public sculpture, and what it takes to suspend a rock in space. 10 • JULY 2014
THE ARTFUL MIND
Here is what we said:
Amy Tanner: Such a gorgeous view. Don Gummer: Yeah...(smiles)
Incredible drive out here. What brought you to this part of the country? Don: Well, first we moved to Millerton—we had a weekend/summer place there—and then this place came on the market, and we made an offer and bought it...Lived here fulltime for fifteen years, but now we’re in the City. You like it because of its proximity to New York City? Don: Sure, you can get there easily from here...it’s far enough away, but close enough...I didn’t know this area before we came up here in ’79, so nothing really said I had to come up to the Northwest corner [of Connecticut]...it just sort of happened.
You’ve mentioned how important it was working with other art students in school––do you have that kind of connection with any artists in NYC? Don: I maintain my friendships in the City...you meet new friends, artist friends in the art world, the film world, all those places...basically it’s just a bigger playground. And it’s a different kind of fun. When you make large pieces, the concept is yours, but it requires a lot of assistance to make it a reality. What do you enjoy most about that collaborative effort? Don: It just seems like a natural way to work. I mean, the scale of things you see right here...to make things that large is so much work, I couldn’t do it myself. I don’t weld, I don’t cut steel. I used to do everything myself before I started making very large pieces, but now I make things that are very durable, out of
PHOTOGRAPH BY JANE
FELDMAN
metal...I like working with a foundry, talking to the guys there, seeing how the work is going...it’s part of the process. Sometimes I’ll make something small, and then make it bigger...but to answer your question, I like the process, I like working with other people after I’ve done all the conceptual work. You get to see it in different stages—you finish something and then it goes through another process and then it gets finished again. You know—twice as much fun! Fun is what it’s all about. Don: Well, it’s gotta be. Otherwise you wouldn’t do it. I wouldn’t.
Do you have a favorite part of the creative process? Don: Hmmm...The very beginning, when I don’t know what I’m going to do. And then towards the end, when I know that I have a day when I’m going to complete something and I know specifically what that thing is. I also like that sometimes you go back and forth: treading water...not treading water... In a bit of a limbo? Don: Yeah, when you doubt that what you’re doing is any good, wondering if you should continue...But if it’s for a specific project then you have to continue. If you’re just working for yourself you can stop and abandon something. But then, even if you’re working for someone else, you can still stop what you’re doing and start something else...I like doing commissioned work, but you do everything for yourself, basically. Do you have a preference for commissioned work? Don: I like commissioned work because you know it’s going to be out in the world, people will see it, and I prefer that...But if I’m not working on a commission I can spend time on my own pieces, so there’s always something. Either you’re making some-