Bronze Sculpture by David Crawford

david crawford Bronze Sculpture

David Crawford's works are as much about texture as they are about form. "Aging, wear, and decay are textures of a rural life. The hasty and even whimsical mis-application of materials employed to repair derelict structures and equipment speak of lives lived, of hardship and of optimism. As frugality directs ingenuity, many objects seem to reveal the souls of those who use them and keep them working."

"One recurrent theme in my work has been the issue of dominance, whether it be in reference to manís relationship with animals or societal relationships within our own species. I see my work as documenting the slow grind from a time when 'might takes right', to what may be a more equitable future. Issues of class, gender, ethnicity, and treatment of animals are on a collision course with a new politic. While many of my early pieces were not so subtle forays into this great debate, Iíve come to see that confrontation in its more direct form, more often leads to deadlock than to dialogue. As the Jester can speak truth to power, I see the comedy in my work as a bit of sugar to help sweeten what can be a bitter pill."

"I donít make my art for artists, and I donít try to confuse anyone. Despite all the complexities of modern life, our emotions are as simple as ever. We laugh, we cry, we hope, we despair. We delight in things I make art about." more...

Welcome to the Gallery

"Gypsy Caravan Horse"This piece is another in a long line of images inspired by the things we humans do to and with our animal "friends". I am amazed at the sheer abundance of uses and alterations we employ to make horses (and other animals) more accommodating of our "needs". We never tire when it comes to how to adapt their natural state, such that they might be more helpful or enjoyable for us . And horses don't really seem to mind. They still like us. Try strapping a saddle on a cat and you get what I would more likely expect an animal to do. I think horses are about as good of sports as are imaginable, and appreciate that such creatures exist. In this piece I was making a little sport myself of the (maybe) fact that Gypsies seem to adorn themselves with quite a bit of stuff, but don't seem so concerned with what is is, and much of their belongings are hanging on by a thread. The horse itself is needing it's head held up by trussing, counterweighted by stones. Yet the horse seems about normal in it's assessment of the situation.

"Gypsy Caravan Horse" Bronze Sculpture by David Crawford

"Carpetbagger"

David Crawford Goat

'Nude Sketch' Many of my pieces come from drawings that I do in bed before I give up on being awake. They occupy me in that space between awake and asleep, that doesn't really make so much sense in the daytime. I don't sketch things that are in my room, but rather just draw whatever falls out of my head onto the paper. One might think that would usually be ticks and such, but more often it is a form of tactile gibberish from which a wealth of my ideas spring. I have struggled to keep from overcorrecting these images as I take the ideas forward to a complete sculpture, and sometimes lose the essence of the image that inspired me, while lending three dimensions to what began a two dimensional form. In Nude Sketch, I tried to capture the sketch itself, rather than take from it a 3 dimensional image. In other words I tried to draw in space with line and volume, the original sketch that interested me. Much has been done with this concept in wire, but I have an affinity for volume. I wanted more than wire, but less than full figure dimensionality. As to the meaning I associate with the piece, I just see it as a sketch of the female form in a pensive mood.

'Nude Sketch' by David Crawford

'Swamp Horse' I created Swamp Horse after visiting with a friend who had just returned from a moose hunting trip in Montana, and he remarked on the fact that the outfitter had been breeding horses for walking in deep muck, as moose habitat abounds in deep muck. The horses had been selected for their large "platter feet" , which would not be a characteristic bred intentionally into any horse in our area. I though why stop with foot size? Breed for adjustable height as well. I am in the market for any horse that shows this characteristic, and am waiting with baited breath to start my breeding program.

'Swamp Horse' by David Crawford

'Lucy' is an unusual piece for me in that it was requested subject, and of a particular dog. Lucy belongs to a woman in New York, who lost friends and her work, as well as other trauma associated with the attacks of 9/11/2001. And with the companionship of this small dog, she began rebuilding her life, as so many others struggled to do in the following years. She felt so very fortunate to have had Lucy to help her through the difficult time that she decided to request of the artists she had been collecting, to "immortalize" this small creature in whatever way they saw fitting, and so from that seed comes "Lucy at Large". I felt that the one thing lucy might wish were a reality is a change in stature. Being a small dog has it's advantages, but let's face it, Dachshunds are the product of some very specific, and might I say comical selective breeding. They harken from Germany, and Germans are known to drink a "staggering" amount of beer. Imagine your local sports bar, except every night is a Saturday, and the patrons are in charge of designing a Dog to kill badgers. That is the likely genesis of the dachshund. I approve whole heartedly, but does the dog? Anyway, Lucy on stilts was my way of giving the dog a leg up.

'Lucy' by David Crawford

"As an artist, I’ve been inspired by people and things both in and outside the 'fine arts' disciplines, but I probably owe as much to my rural upbringing and surroundings as to any other influences for the images I produce."

"Growing up living and working among cattle ranchers, art was not really the kind of thing that one should take too seriously. So, initially, I tried to focus my creative energy on functional objects, such that I be considered useful. But time would inevitably lead me to make things that had no purpose whatsoever."

David Crawford was born in 1955 in Walla Walla, WA and grew up in rural southeast Oregon in Adel and later Lakeview. He worked on the MC Ranch for a hay contractor during the summers until he graduated from high school. He received a bachelors degree in Art from Eastern Oregon University in 1979, he married Victoria Thew and he began his early art career in Portland, OR.

In late 1981, he moved to Enterprise, OR where both of her sons were born. Working in furniture at first, he began in 1986 to work primarily in bronze.

In 1993, he and his family moved to Halfway, OR where he currently maintains his studio and foundry for casting his works.

He recently completed a grouping of life-sized clown sculptures that consumed much of the last four years.

 

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