INTERVIEW BY H CANDEE

WILLIAM CASPER

FIGURATIVE SCULPTOR

Interview by Harryet Candee

Photographed by Bobby Miller

Alan Front and Back 14”x19”x9”

Harryet Candee: What principle key points are essential that you follow when creating a sculpture from start to finish? William Casper: Establishing the pose and the message(s) to be delivered is certainly key to any pose. From a technical standpoint I always establish the center of gravity of the pose –where is the weight distributed? Determine the proper angles and proportions to establish the believability and integrity of the sculpture. Create a support armature to carry the weight and establish the physical boundaries of the piece. I find that successful sculptures are created by hand building all the parts of the sculpture equally, without focusing on only one part to the exclusion of other elements.

As you create from sculpture to sculpture, what can you say you have discovered that may not have existed in your mind from the previous work of art? When I started sculpting, I was focused on becoming technically able to represent what I saw. As I became more competent, I realized the importance of the message in the pose and the sculpture: What am I imparting to the viewer? What do I see, what is in my heart, and what do I want the viewer to feel and understand about the sculpture? Can I capture some essence that resonates with the viewer that says: Come look at me!

What is it about sculpture that you find satisfying? Have you ventured into other mediums and felt similar? Three-dimensional art is deeply satisfying to me. Although I sketch my poses, the direct manipulation of clay with my hands, and the use of tools feels elemental and more natural to me. I use tools that give me interesting shapes: kitchen knives, old coping saw blades, dental instruments, and even sanding blocks. I fully expect to begin metal sculpting next, but I have not yet ventured much into other artistic mediums. I have so much to learn and grow with my current art.

Can you open our eyes to something that viewers do not normally see when looking at your sculpture? I believe sculpture should be physically touched by the viewer to understand the characteristics of the work: the angles, contours, shapes and surface treatment. I must put my hands in my pockets whenever I visit a museum to prevent me from reaching out to experience what a sculptor has made. I am always flattered when a viewer wants to touch my work, and I encourage them to do so (without damaging it of course) Continued on next page...

Camel Yoga Pose 16”x5.5”x10”

How long does it take you to go from concept to fruition? Maybe you can tell us the steps involved. My idea for a pose can sometimes take the longest time. I have been sculpting yoga poses for a while because they highlight the human form so beautifully yet require coiled strength and repose at the same time. After deciding on a sculpture pose I start by building an armature out of various plumbing parts and armature wire to form a supportive structure for the clay, a process that usually takes a few hours. I need to bend the armature so that when I begin the sculpture I have a firm start on the proper weighting and positions of the of the pose. I prefer to work with models for about 10, 2 to 3 hour sessions, and then finish on my own for another 10 hours or so. I use an oil impregnated clay that never hardens and is not meant to be fired. I finish each sculpture with a rubber mold, which is then used to make an exact copy in either bronze or resin cast. The original clay is then reused for additional sculptures.

Artists who study the human form on paper, learn their gestural skills allowing them to capture the essence of the body in movement and anatomical accuracy. Do you work the clay material in any similar ways? Early in my career (about 45 years ago) I started with water-based clay and quick sculptural poses. I now use a mixture of drawing and photographs to begin the process of determining a pose. Capturing the essence of the body movement is necessary, and anatomy classes and books also help to inform the pose.

Is there a particular kind of body type you like to work with? When drawing from the model, for example, many people prefer heavier people for their roundness, while others go to thin models for their sharp angles. Do you have a preference? A good question. The human body comes in all shapes, sizes, and muscularity, and I like them all. My yoga models tend to be strong and lithe. But I find my eye is also drawn to fuller and rounder human shapes because their contours and folds are so expressive.

What would be a difficult pose that you like to take on? I find it difficult to sculpt stationary, rigid positions, where it is hard to depict external physical movement, and internal emotional energy. I try to establish body positions with twists and turns: Contrapposto positioning of contrary weight distribution and planes yield much more interest.

Lord of the Fishes Yoga Pose 15”x18.5”x14”

Hands and feet are considered the hardest anatomical part to capture. Do you find that to be the case with sculpting? Hands and feet are certainly difficult to capture correctly and take a lot of effort but can be very expressive. I like the challenge of portraying them correctly in my work but agree that they are probably the hardest parts to capture.

Wondering, when working with clay and bronze— there is not a full palette of color, but do you see more color in your work than meets the eye? My goal is to capture movement in a static sculpture. Texturing the surface of the sculpture captures and reflects light thereby enhancing the feeling of movement, inner tension, and emotions. The light changes and moves as one goes around a piece. Therefore, surface treatment and lighting are the most important factors to imparting movement and dynamism to a sculpture that is motionless.

What artists can you say have influenced your creativity? There are so many master sculptors whose work I admire. One of my favorite sculptors is Sir Jacob Epstein, whose sculptures during his figurative period indelibly capture the personalities of his subjects (see for example Isobel). Of course, I only have to go as far as Stockbridge to view works of Daniel Chester French. Such master sculptors capture their subjects’ integrity, grace and majesty with incredible technical precision. I can only hope to strive towards that level of achievement.

What would you say was one of your most favorite sculptures you have made, and why? I feel like my art is improving and my best is yet to come. That said, I think my Camel Pose sculpture presents an intense feeling of strength, flexibility, and purpose to this difficult yoga position.

Is anything you work with or use a potential hazardous? Really, nothing hazardous, other than accidently cutting myself with my own tools.

What point are you at with your work now? I prefer to work with models and Covid has limited my interaction over the last 18 months. I was working on a totem pole of different yoga poses using a yoga instructor as a model just prior to the spread of Covid. It has been difficult to be in the same enclosed space with a model, but I am hopeful that conditions will improve so that I can be in the same space again. I have Continued on next page...

Moment Front and Back 12”x13”x9”

C-Curve-On-The-Ball 21”x6.5’x9”

Surrender 20”x25”x11”

completed two abstract busts without using models with some success, but my preference is to continue with my previous work with models.

William, tell us more about yourself, please. I started actively sculpting as a senior in college when I wanted to create a portfolio for architecture school in the mid 1970’s. Although I didn’t attend architecture school, I continued to take sculpture studio classes and learn from others in the field. Professionally, I have been in the affordable housing for seniors and families arena since the late 1970’s, and I am presently president of an affordable housing nonprofit corporation (since 1995), owning and operating more than 600 units. Sometimes there aren’t enough hours in the day.

As a boy, what interests did you have that might havebeen carried into your adulthood and artistic career? I was and remain very mechanically inclined. I took apart and (usually) reassembled whatever I could get my hands on. Fortunately, at home I was encouraged to build lots of physical projects, including arts and crafts. I was always working with my hands. I built hifi equipment from kits, wired up my bedroom with lights and bells, had a chemistry kit in the basement, and tried to fix anything that was broken. My father sold lighting fixtures to furniture stores in New England. Whenever a fixture was broken or defective he would bring it home to me so that I could fix it (wiring gave me curly hair). I have always been active in sports, having grown up at my uncles’ summer camp in Maine starting at 6 years old. Baseball, basketball, swimming, golf – I was always ready. In those days I was never tired. Now, I find I am most happy being engaged and active. I spend a lot of time cooking – a great way to be creative. I am not allowed to visit my adult daughters’ homes without bringing my toolbox. We now have 9 grandchildren, with a 10th on the way.

How do you like living in the Berkshires? How has it been good to you in terms of being an artist? We lived in the Boston area for 33 years, frequently coming to the Berkshires. Now that we live here, we realize what we were missing. We truly feel blessed to live in this most beautiful part of the country. I sold my assisted living business as we moved to Great Barrington 5 years ago. I can now focus much more extensively on my art. I have been fortunate to have been selected for number of local art shows including the Berkshire Museum, and some local galleries. The Berkshire community loves art! Continued on next page...

Give Me A Chance Front and Back 9”x16”x8”

Robin 28”x9”x13”

What was involved in choosing the pieces that were in the last art exhibit you participated in? My last show was at a studio open house with my dear talented friends Virginia Bradley and Chris Malcomson in August. I selected 14 representative sculptures of yoga poses, busts and whimsical seated and standing poses showing some of the breadth of my figurative work. A few of my sculptures show fine facial detail (such as Here I Come), while in others I try to evoke the feeling of stress in the pose (C Curve on the Ball), or ephemeral longing (as in Surrender). Have you done much traveling in your life? Where did you go that you loved the most? My wife and I began travelling just before Covid began. My most memorable trip was to Japan in November 2019. The art, the food, the housing, the style of clothing, and the cleanliness was inspiring. I truly appreciated being exposed to another culture. Unfortunately, our travel plans have been upended due to the pandemic. Planned travels to central Europe, North Africa, and New Zealand & Australia were all cancelled. What is next for you in terms of your art making? I am anxious to get back to my routine of working with models, trying some new metal sculpture, and travelling to experience art from other countries and cultures.

Thank you, William

williamcaspersculptures.com

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