June 2015
Holsten Galleries newsletter
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Greetings! I hope you and your loved ones are healthy and enjoying the summer. This month I am excited to introduce a "new" artist, Henry Richardson. The quotes around "new" are because I showed Henry Richardson’s work for several years back in the Berkshires ten or so years ago. Somehow we lost touch with one another and then last year we happened to be traveling on the same plane. We have been talking about resuming our relationship since that time. Due to several very large scale commissions it has taken some time for Henry to develop a body of smaller pieces for me to offer to my clients. You can also see some of his spectacular commissioned installations on his new web page, just follow this link. I hope you like Henry’s work as much as I do and will enjoy the interview which follows. In addition, I am featuring a selection of works by other artists whom I represent. As always, I look forward to hearing from you with any questions or comments you may have. Kenn Holsten |
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"Oh no, never, never, never. In the moment you are satisfied. Maybe you’re happy with what you did. But tomorrow, or even today, is another time. you make one work, and the next piece is the new challenge." – Lino Tagliapietra, |
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K: So, Henry, how long have you been working in glass? H: My art started with other media. Mainly paint, and oddly enough, concrete. At some point in the 1990’s I started adding other media to my sculptures, including both wood and glass. Then in 1995 Jonathan Faust, who was then with the Boston MFA, suggested that I focus on glass as a medium. I remember bringing a few of my small works in plate glass to your gallery in Stockbridge in 1998 and was surprised that you took me on. |
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K: Yes, I remember that very well. That lasted for a few years and we gradually lost touch with each other. Have you ever tried glass blowing? H: No. I love working with plate glass. The way it transmit light. The fact that it is an everyday material that can be transformed into beautiful sculpture. Gradually I began using a hammer and chisel to create facets on the edges, much the way a stone sculptor would do. Since that time I have discovered so many ways to work this material.
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K: In recent years you have been commissioned to create some very powerful large scale commissions, both indoors and out of doors. How has that been for you? H: Very satisfying! In the large scale works I am faced with a whole new set of problems and challenges to work out. And I have a different emotional response to working large. When I can meet those challenges successfully it can be really fun. I am able to pursue new and different ideas which keeps me passionate about my work. |
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K: How is your work evolving these days? H: Well, in recent years I have been very interested in the idea of implied motion. That is why many of my current works often have curves and twists rather than being strictly rectilinear. Using colored pigments is also fairly recent and that takes me back to my early days as a painter. I’m always fascinated by the inner light in my work. That probably goes back to my upbringing as a Quaker. |
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K: What are you most proud of in your career? H: That’s always changing. I’m proud of having been able to pursue this passion without deviating from my original interest in ideas and emotions in the face of internal and external uncertainty. |
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K: And where do you see your career in 5 or 10 years? H: I plan to continue creating art my entire life. To pursue my lifelong pursuit of new ideas and emotions. They’ll probably find me dead on the floor of my studio |
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Selected Works from Represented Artists:
