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Furniture as Sculpture
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17639 |
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Section : |
THE ARTS
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| Issue
Date : |
6 / 1990 |
1,584 Words |
| Author
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Christine Pittel
Christine Pittel lives in New York and Los Angeles and writes
regularly on the arts. |
For thirty years Wendell Castle has been sawing, laminating, sanding, and burnishing wood - moving "in two directions at once," he explains, "one more like furniture" and the other "more sculpture." Sometimes it's hard to tell the difference. The fanciful pieces he painstakingly handcrafts in his studio - an old soybean mill in Scottsville, New York - certainly look like no one else's tables and chairs. Even the names of the woods chosen are evocative - purple-hearted amaranth, beeswing narra, Gabon ebony, Baltic birch, Australian lacewood, curly English sycamore, Swiss pear. Then, Castle puts them together in such unexpected ways that the viewer is astonished by the workmanship and delighted with the wit. All this effort (one piece can easily consume six hundred hours) is expended to achieve Castle's ultimate goal: "to make furniture into art."
It would seem he has succeeded. Castle's work is included in the collections of New York's Metropolitan Museum of Art, Boston's Museum of Fine Arts, the Art Institute of Chicago, and Philadelphia Museum of Art, among other institutions. Connoisseurs like Malcolm Forbes and J. Patrick Lannan purchased pieces for their private collections. Recently, one piece from his 1985 clock series, Sun God, sold at Sotheby's for $120,000, plus commission.
'Unique Position'
Castle holds a unique position in the history of handcrafted furniture, according to Davira Taragin, curator of twentieth century decorative arts and design at the Detroit Institute of Arts and organizer of the retrospective. "He made us rethink the design, the construction, the purpose, and the function of furniture," she observes.
... (1998 of 9465 Characters)
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