Archive for the ‘Darwin Dower Studios’ Category

Dealing with Artist Block

Have you ever woke up wanting, needing to create?  The desire is nipping at your brain, but you are running on empty with ideas.  Artist block is a natural process that all artists go through.  It usually comes right before a huge growth period.  Your brain is telling you, it’s time to “fill-up.”

Just like the fuel in your car, you occassionally need to “fill-up” again.  The block may be Gods way of pushing us to grow and replenish our mind and spirit.  You are sharing your soul with the world through your artwork.  Therefore it is most important to fill YOU back up so you can better express yourself without any fears.

Artist block can be one of the most frustrating times in an artists life.  It certainly has been in mine.  After finishing a wood sculpture, I usually take a day or two to relax and re-juvinate my physical body.  Within a day or two, I know it is time to get back at the artwork, but my mind is blank.  Yesterday, I seemed to have numerous ideas, but today…nothing!  I use a variety of tools to create my sculptures, but they are all useless when I am missing the most important one…”I N S P I R A T I O N.”

So, How do I get through it and not go crazy in the process?  First, it’s important to realize that it isn’t the end of the world.  Walk away, don’t force ideas when they just aren’t there.  If I’m on a deadline, I do other things that need to be done, ie. yard work, home repairs, pay bills or run an errand.   In short, when I get the blahs, I do something to get me back on track to get inspired.  Here are some things that have helped me:

• Don’t force creativity.  It just frustrates me more  Sometimes a good break is helpful.  Maybe even a a few weeks.  Then when I hit my studio, I find ideas come more freely.
• Get outside.  I love to take long drives in a rual countryside.  I observe nature and experience things.  I like to look at everything as if I’ve never seen it before.  I look at rusting metal and see what different colors are in it.  I observe how tree roots grow,  how moss forms on rocks and how wood ages in the elements.  I do something out of the ordinary; like using my sences- sight, sound, smell, touch and taste.  I observe, sketch and photograph.   I carry a camera with me and I stop to smell the roses.   Inspiration sometimes comes slow, but it does come back. 
• I listen to music I like.  This usually inspires me and changes my mood.  Country western is my favorite.
• Clean your studio.  My studio is usually a mess, and full of sawdust from previous sculptures.  By spending a day or two in deep cleaning and discarding, I often discover new ideas or ones that I’ve filed and forgotten about.
• Review how you market yourself.  Use this time to review your marketing tools – business cards, brochures, website, press packets etc.  Even though I may not be creating, I’m doing things to help my career progress.
• Visit libraries and book stores.  Since I  prefer to follow a western theme in my sculptures, I often go to libraries or book stores and look through their selection of books on the old west.  I keep a collection of art magazines, and often refer to them for inspiration also.
• Visit other artists studio’s.  I always get excited and re-energized when I visit with Keith and Craig in the Hone studio.  Not only do I get great ideas from other artists, but their excitement over a project becomes contageous and helps me.
• Visit art galleries and museums.  I often get inspiration from things I see that other artists have created. 
• Don’t be afraid of making mistakes- try something new.  I mess-up all the time.  When I’m struggling, I often try something new. I challenge myself to try a new technique, or challenge myself to try something that may be beyond my current ability
• Don’t panic-don’t stress.  Don’t doubt yourself  and don’t stop creating.  I’ve found that sculpting a “crappy” piece is better than doing nothing at all.  The worst thing you can do is to retreat; mope around and do nothing at all.  It’s time to get back to work!

Artist block is different for every artist, so if this doesn’t work, try something else.  Play music, go for a walk, meditate or take a nap.  There are numerous ways to do it.  You just have to find what’s right for you. 

Well,  it’s time for me to get back to work.  I’m sculpting another saddle, and trying some new techniques.  Can’t wait to share them with you in a future blog.

In last week’s session, we discussed the need for a business plan and some very basic marketing ideas.  In this session, we’ll talk about YOU the person, as an artist.  Your product is YOU and YOUR WORK.  Never lose sight of that fact!  You and your work are basically Siamese twins.  The question is, together, do you make a marketable product?   If you protray yourself as a professional, people will treat ou like one.

• Create a name for your business.  Don’t get too creative or cute in this name.  Remember, you want people to remember YOU.  Use your own name (ie. L. Darwin Dower Studio’s).  Focus on who you are and how you want to be remembered
• Create Business Cards, Stationary, Invoices and Statements.    These do not need to be cost prohibitive.  Your name, phone number, e-mail and website are a must, along with the service you provide.  (ie. Sculptor, Landscape Artist, Potter etc.)  The cards should be carried with you all the time, and handed out when you meet someone new.
• You need a 10 Second introduction:  What do you say when people ask what you do?  You want a 10 second introduction that causes your listner to say “Really…tell me more.”  Here’s mine as an example:  “I’m a master wood sculptor.  I create intricate one of a kind western art for the discriminating collector.”   What’s yours?
• Mailing Lists:  So how do you go about putting this together?  First, and right from the start, view it as one of the most important tools in your art practice.  Be prepared to put time and effort into compiling it, and planning a way to distribute it.  Computer data bases are obviously the easiest way to go, but sometimes, you may want to also do a mailing.  Your mailing list is going to include entries of different types of people.  Your friends are obviously the easiest for you to collect data on.  Ask for their help.  Do they know anyone who collects art of your style?  However, you need to broaden your thinking beyone this small group.  Businesses that you want to sell to; people who may assist your career in some way (ie. Media, museum curators, gallery owners, art show promoters etc.)  Consider local doctors, dentists, accountants or major corporations in your area.  They all have offices that need artwork.  Anytime people seem interested in your artwork, ask them for a business card, and add them to your list.  As you attend art shows, have a guest book for patrons to sign.  NOW, BEFORE YOU SAY, I’VE TRIED IT…IT DOESN’T WORK.  THINK AGAIN.  Here’s what I do.  Whether I’m at an indoor facilityor an outdoor show, I always have 2-3 nicely framed announcements of my latest sculptures with me.  These announcements show several pictures of the completed piece along with the story that inspired the piece.  I ask everyone who stops by my display if they are on my Priority list.  Invariably, they will ask what that is.  I let them know it’s a select few  friends that  I share my most recent work with.  I show them  one of the framed pictures, and let  then know that I have a select few patrons that I like to share each new piece with before the general public see’s it.  I make them feel important.  They only need to give me their name and e-mail address.  I let them know that I will send them 10-12 e-mails per year, and that they are all sent as “blind carbon copies” so no one else sees their e-mail.  Each will have an attachment similiar to the framed picture, and I also allow them to “Opt-out” whenever they wish.  I usually add 50-75 people with each show I do.  Keep in touch with your patron/mailing list often.  In addition to letting them know about new work you’ve completed, let them know when you are appearing in an art show.  Send them an e-card on special occassions like Thanksgiving and Christmas.  It’s important to remember that nobody will believe in you if you don’t believe in yourself.

The internet has become one of the best and most effective ways of marketing a business.  These days, a client or collector is just as likely to ask for your website as they are your business card or phone number.  If you are a beginning artist, it may be something to think about in the future, but for established artists, it is a must!  A website can provide prospective collectors with your resume, samples of your work, where you are showing and answer numerous questions with a single click of the mouse.  It’s most important to remember that you are showcasing your work.  It needs to look professional. 

An effective website must have some basic things. 

1. Your name, bio. and contact information.
2. Information about what you do.  Are you a sculptor, a landscape artist or a potter?  What subject matter do you prefer. 
3. Detailed information about each piece on your gallery page.  Here it is especially important to list the size.  If it is duplicated (ie castings or numbered geclee prints), how many will you be doing.  Each time you duplicate, the value of the original piece is decreased.   
4. Lastly, and maybe most importantly…You MUST have good quality photographs of your work.  There’s an old saying “Garbage in…Garbage out.”  Nothing can have a more damaging effect on your business, than poor quality images on our website.  Don’t misunderstand what I’m saying here.  I’m not talking about the quality of your artwork, but the quality of the photography.  I’m referring to the lighting, digital conversion, color correction etc., that was used to showcase your art.  I can’t over emphasize this.  It is ABSOLUTELY CRITICAL  for visual artists to have good quality photographic prints, slides or digital copies of your work.  You can either hire a professional photographer or if you are confident in your ability and have the right equipment, you may be able to do it yourself.  BUT REMEMBER, you are showcasing your artwork.  Don’t make the images to small.  Don’t use over powering backgrounds, or improper lighting to take photos.  Make sure everything is 100% in focus.  Your work may be passed over by a prospective patron if you don’t pay attention to these basics.  It is also important to realize that at juried art shows or galleries, slides will often be looked at and judged in a split second.  If anything detracts from your art, you may not have another chance to impress them.

There are several other things to keep in mind when you are having a website designed. 

• First, and foremost, remember…YOU ARE AN ARTIST, NOT A WEB DESIGNER!
• Is your site functional and easy to change?  When you’ve completed a new piece of art, it should be added to your gallery page within 48 hours.  Never leave old information on the site.  When a show is over, it needs to be removed from your website quickly.
• Is it easy for the viewer to navigate?  If it isn’t, they will quickly lose interest, and you will lose sales.
• How do you market your website?  As stated earlier, your website needs to be on all of your printed materials (business cards, letterheads, invoices and statements.  In addition consider magnetic signs for your vehicles, a sign on your booth canopy, and any e-mails you send out.
• What do you do for your web visitors once they are on your site?  Consider a down-loadable screen saver for them.  Think about it…every time they turn their computer on, a piece of your work (with your website) will appear.  How about e-cards or video’s.  Maybe a blog that is frequently updated. 

Now, let’s discuss art shows and exhibits.  There are numerous exhibits you can enter.  Some local, some National, some even international.  Each will give you exposure.  Art magazines are a good place to find lists of them as well as on the internet.  Some may be free, but most (expecially the good ones) require a fee.  You’ll need to consider this when making your business plan.  I can’t tell you which shows to enter, and which to avoid, but if you really want to market your work, look for exhibits that will showcase your work.  Inquire if possible, what other artists are participating.  Maybe even visit the show once before you decide to enter it.  While there are many good art shows around the state and region, be careful of local “craft shows.”  Remember, you will be judged by the company you keep.  If you exhibit with low end crafts, your artwork may be judged as such.  Look for venues that will enhance your work and reputation.

After finding the exhibition that you wish to participate in, there are several DO’s and DONT’s that are important in marketing both yourself and your artwork.  Lets discuss them  First the DO’s:

• Review the site.  You have heard the term Location, Location, Location.  It also applies here.  You want the best possible location in the show to enhance your possibility of making sales.   Here are a couple suggestions.  1.  Look for a corner location in an outdoor.  You have better traffic there from all directions.                                     2.  If you’re stuck in the middle of a group of booths, consider a double sided vertical signing in front of your display, facing the traffic flow.  This way, people approaching from either direction can see it.  This will set you apart from your competition.                                                                                                                                                                       3.  Try to stay away from the very beginning and the very end of the traffic flow.  If you’re at the front, people will say “we just got here, we want to look around.  If you’re at the end or near the exit, they’ve already spent their money.                                                                                                                                                                                                         4.  Choose a location somewhat close to where people gather.  ie food courts or vendors and entertainment stages.  Spend some time during the show to observe the traffic flows, and see how other artists are doing.  This will help you nest time you enter that event.
•    Set your display to attract buyers.     Have a “show-stopper.”  A dramatic piece, dominately displayed, that will cateh the eye.  Keep your display fresh.  If the show is more than a 1-day event, consider re-arranging your display.  People want and expect, to see something new each time they stop at your display.  Also, when you re-arrange your display, it gives the impression that you are selling the artwork.  This creates urgency in the mind of people who are considering a purchase.  Make sure your display is clean, and if possible, display like people would want to see it in their home or office.  If in an outside venue, consider floor covering under the displays; maybe a vase or two of flowers etc.  BUT, remember, you are selling artwork, not props.  Good descriptive signing is a must.  NOT hand printed.  (Remember you’re a professional.)  Always have your cards and brochures if you use them prominently displayed.
• Dress Appropriately for the venue and your art style. I’m a western artist.  When I’m at an indoor exhibit, I may wear a western suit and dress boots.  At an outdoor show, it will be the same, only a little more casual, plus a hat.  In short…dress the part.
• Be Available , smile and be approachable.  I can’t begin to tell you how often I see artists sitting at the back of their booth, or even behind it at outdoor shows.  The same happens at indoor shows…artists tend to group together and talk “shop;” often forgetting what they’re there for…TO MAKE SALES!  In short, you need to sell not only your work, you need to sell yourself.  People want to meet and know the artist.  If a prospective buyer knows something about your artwork, because YOU, THE ARTIST, shared it with them, they will buy it, so they can tell their friends about it.  Then that buyer becomes the expert on you, and they will more than likely come back to you for more.
• Have your support materials properly stored.  You will obviously need supplies (additional cards, brochures, bags, invoices etc.  Have them properly stored away; never detracting from your display.  A roll-around tool cabinet works well for this purpose.  REMEMBER, you need to look professional.

Now for the DONT’s:

• Don’t ever,  repeat…DON’T EVER SET UP LATE, OR STILL BE WORKING ON YOUR PRESENTATION AFTER THE SHOW STARTS.  (Whether indoor or outdoor).  This sends a strong signal to possible patrons that you are less than professional.
• Don’t allow friends or family members to congregrate around your display area., and keep you from your patrons.  They need to understand that this is your job.  You are at work.
• Be careful of distractions inside your booth, such as loud or offensive music or anything else that would distract a customer from staying as long as they might wish to view your work.
• Don’t Ever ignore anyone.  Remember, women make the buying decision most of the time.  If children are in attendance, make comments about them and to them also.  This helps bond you with the customer.

It is most important to remember that if a customer has a bad experience with you, they will tell 5-6 of their friends, and those people will tell 3-4 others, who will tell 1-2 more.  On the other hand, if they had a good experience, they will tell their friends, who will also tell others.   

In Session 3, (next week) we’ll discuss how to submit press releases and getting published.  Until then, keep busy and stay happy. 

Well, a few weeks have passed since my last post, where I discussed the challenge of sculpting the base for my current project; a Charro Saddle.    As indicated, I spent several hours sculpting a model in clay. I payed particular attention to “‘artistic movement”  to make sure the base would complement the saddle, and lead the eye of the viewer.  After I was satisfied with it, I enlisted the critique from a very accomplished bronze artist.  By sculpting it in clay and then with the critique I had received, I was ready to reproduce the base in black walnut.    I must admit, I had a few moments of doubting whether I had the ability to complete what I was attempting to do.   I knew however, that it wasn’t going to get done, if I was going to question myself. 

Numerous pieces of walnut were glued together to obtain the bulk I would need.  Then with the clay model setting beside me, I began.  The process was slow at first, as a great deal of mass had to be removed from the block of wood using an electric grinder.    Soon however, I had the basic shape I needed.   I frequently used a caliper to make sure the size was equal to the clay model. 

First, the base was cut into a concave form, with numerous rocks and tree roots carved into place, to duplicate the pictures I had previously taken in the field.  Next the tree base was carved in an “S” shape to add interest and movement to the sculpture.  Branches were strategically placed to accommodate  the placement of the saddle when it was completed.  Particular attention was given to the texture of the bark, and the smooth areas where the bark was missing on the tree. 

The completed tree trunk, was then permanentely attached to the bottom part of the base to complete the look I was after.  It was now time to paint the tree, rocks and roots.  I used several washes of artists oil paints to accomplish the look I wanted.  I then put a satin finish over the bottom portion, being careful to maintain a good balance of shine and matt finishes. 

The carving of the saddle and base are now complete.  My next challenge will be to capture the weathered look of the leather through my painting techniques. 

Some 4 months ago, I looked at a Charro saddle, with a great deal of apprehension & doubt.  Did I have the ability to carve it?  I questioned my abilities again, when I attempted to sculpt the base.  Now I have only one hurdle to cross -  PAINTING THE CHARRO SADDLE. 

Stay tuned, I’ll update the progress and hope to have the sculpture completed within the next two weeks.

Basic rules of Art Photography- Photographing your art or products

It is pretty exciting, your work can now be seen instantly by millions of people, all around the world with a few simple mouse clicks.  Not only do they see it, they know that you are the artist and they have a means to contact you.  However, you have to be able to get your artwork from your studio and into the computer.  That means that your artwork needs to be photographed.

Now, if talk of stops, meter readings and film stocks make your palms sweat and your throat tighten, then I recommend that you have a professional photographer photograph your work.  Ask other artists for suggestions on whom to hire and make sure that the photographer has experience in photographing artwork. Some photographers specialize in this area and do a very good job and are well worth it.

Why are show promoters still requesting slides?  Well, color transparency film records a much greater amount of information than print film with greater color accuracy when used in a controlled lighting environment.  Juries will see a much better representation of your work when they look at the slides-verses photos.

Digital or Film?  Film is still superior in the amount of information it captures compared to most consumer level digital cameras.  From film you can make large prints, make duplicate slides and create digital files suitable for publishing.  A digital camera is ideal for photographing your work for the web where file size and resolution are not critical issues and it saves you the cost of film and processing.  You do not need to scan a slide to get it into a digital form.  (Use at least an 8 mp, and preferably a 10 or 12 mp if you are using a digital.)

The Basics

What you need:

• ART – flat art, sculpture, pottery, jewelry etc.
• Preferably a 35mm Single Lens Reflex Camera that can be manually adjusted, with a built in light meter or a hand held meter.  (If using a digital camera a 10 or 12 mp that can also be manually adjusted)
• A 50mm or greater length focal length lens.  Avoid wide angle lenses due to distoration.
• A tripod or monopod are essential.  A cable release is recommended.
• Film (Tungsten balanced slide flim is recommended)
• Two lights with light stands, 10 to 12 inch reflectors and 3200 degree K bulbs
• An 18% Reflectance Gray Card.  (This is an amazing tool that you can purchase for less than $20 at any photo store)
• Space to set up where you can control the lighting

The Procedure

1.       Choose a background:  Choose a neutral, white gray or black.  (Stay away from any patterned background.)  White sometimes causes too much light to be reflected back into the lens and causes flair and colors to be washed out.  Black or gray work very well and causes little reflection.  Experiment with what works best for you.  Black felt from a fabric store works well.  Attach the background to the wall, or over boxes.  If no background is going to show, you do not need one.  (www.cowboystudio.com is a great place to purchase backdrops and lights)

2.       Flat art would hang on the background.  Make sure that the artwork is plum (vertical & level).  If your artwork is small, you can place your background and artwork on the floor and place the camera overhead

3.       Place the camera perpendicular to the artwork.  The back of the camera should be vertical and parallel to the art and the camera must be level.  The artwork should be centered and squared in the viewfinder.  Leave a little extra room in the edges of the frame because some slide mounts crop into this area.

4.       The easiest way to get correct color and/or reduce glare is to shoot indoors under lights.  To shoot indoors with film you must get special light bulbs at the camera store.  They are called “3200K Tungsten Bulbs”.  Make sure to get film to match  These lights work well also with digital cameras.  With digital cameras however, fairly good results can be obtained using portably work lights that are sold in the hardware or care department section of Wal-Mart or other discount stores.  Place the lights at an equal distance, 45 degrees from the wall.  The placement of lights is important.  The lighting should be even over the entire surface of the artwork.  The distance the lights are placed from the wall is dependent on the size of the artwork.  If the lights are to close, then there will be a hot spot in the middle of the artwork.  Move the lights back while maintaining a 45 degree angle until the artwork is evenly illuminated from the center, to the corners of both slides.  If your artwork is reflective or varnished, you might notice some glare when you look through the viewfinder.  You can try to modify the angles of the lights or pull lights farther back until the glare disappears. Sometimes the use of polarizing filters helps eliminate glare.

Wall

_____________

(Artwork)

\                               /

Light                         Light

_____

Camera

5.       Metering:  Place the Gray card in the center of your artwork.  (You may need to take your artwork down so you can attach the Gray Card to the wall, or place on display boxes).  Move your camera towards the Gray Card so that the entire frame is filled with the Gray Card.  Be careful not to cast any shadow with your body or camera on the card.  With your lens focused on infinity, take a meter reading (Shutter Speed and –Stop based on the film speed) and set your camera to that exposure.  Remove the Gray card, place the artwork back into position and move your camera back to its original position.

6.       Make an Exposure.  With the artwork carefully centered in the viewfinder, expose the film as to the exposure set when the Gray Card was metered.  Make sure that your camera is NOT on an automatic exposure mode.

7.       Shoot more pieces:  Remove the artwork you just photographed and place the next one to be photographed.  If you do not need to change the position of the lights, then your base exposure from the previous shoot remains the same.  If you need to move the lights because of uneven illumination or glare, then a new meter reading needs to be made.

8.       Process the film:  Choose a good local custom color lab for this.  The quality of the lab can make a difference.  You’ve just done all this work!  You want the best possible results!

9.       Review your slides!  Look at your slides closely on a good light box with a loupe (magnifier). The custom lab where you just picked up your film probably has one.  If you are going to be working with slides, a good light box and a loupe are worthwhile investments.  If you can, you should always project your slides.  See what the jury will see.  You’ll be surprised at how different slides look when they are enlarged.

Misc. Information:  Almost all galleries look at digital images or 35 mm slides, they do not look at actual artwork.  The images are the only thing that you have to represent your work.  Make sure the quality of the digital image or slide represent your work well.

There are many types of digital cameras, but if you want a good image that will made decent size prints, use at least an 8 mp camera.  Sony, Nikon, Canon Fuji & Olympus all make good cameras in this category.  (Some older model digital cameras, especially Sony and Fuji models, have over saturated colors.  This is not good for artwork.  If buying an older digital, avoid these brands.)  Most recently made digital cameras have good color retention however.  A good lens is important for artwork.  The mini cameras with tiny lenses are NOT as good.  Most galleries or juries today prefer to view work on a website, at digital prints or images on a CD.  You can NOT take good slides with an instant type camera, even if it takes 35mm film.  You do not have to buy an expensive, brand new 35mm camera with auto settings.  An older manual version is OK as long as it has a built in light meter.  If it doesn’t have one, then you will also have to buy a hand held light meter.  Some older digital

Whether using digital images or slides, include the image information on an accompanying card,or on the slide itself.  Type or print the information carefully so it is easy to read.  When putting your dimensions on, always put the height first, then width.

The big advantage of using a digital camera vs. a 35mm, is that you can get instant results from your photo session.  The next step is to properly size and crop the photo for publication.  Crop all excess parts of the photo, so that your final image is mainly the artwork.  Next, resize it.  Your final resolution should be 200-300 PPI.  (Most professional printers want 300 PPI, but 200 is OK for websites etc.)

Many first generation Anglo Cowboys had missing thumbs. Often they were unable to rope their steer, wind the rope around the saddle horn and then remove their hand before the animal pulled tight. Consequently they lost their thumb. Mexican horsemen didn’t have this problem with the saddle of the Charro. It has a wide horn and a wooden tree which helps safeguard the Charro from being “hung-up.” They soon schooled their American counterparts. The Charro is a very practical and safe way to ride and rope. It is often an elaborate mixture of inlayed woods, delicately tooled leather with silver conchos, and greatly prized by its owner

Four hundred years of caring for large animals on ranches are behind the competition known as Charreda. Handed down from generation to generation, and performed in a liengo (arena), which is shaped like a keyhole. Each competitor is dressed in the traditional suit (traje) or the Charro

In 1921, an association was established called “Asociacion Nacional de Charros.” Charreria was a precursor and inspiration for the popular American type of Rodeo that we enjoy today.

Charreda is sometimes called the National Sport of Mexico, but it is more than that. IT IS A TRADITION!

Several months ago, I came across a Charro saddle at a local saddle shop. After carefully examining it, I knew I’d one day attempt to sculpt it. I looked at it month after month, always questioning my ability. Finally in June 2009,   I decided I was ready.

Knowing this could be one of my biggest challenges to date for me, I took loan of the saddle. I knew I wanted to take this sculpture to a higher level of artistic excellence. I decided that a 40% scale would be best for such an elaborate saddle. Numerous hours have been spent in measuring and sketching prior to starting the sculpture. The saddle tree including the horn and seat were completed first, then the fenders, stirrups and tappaderos. Great care was taken to duplicate the delicate leather tooling.

Wanting something different than a typical saddle stand for this sculpture, I decided on a twisted Cedar tree. I spent an entire day photographing and sketching Cedar trees in their natural setting. I finally found what I wanted.

I quickly realized I would have to take on a new challenge if I was able to duplicate my photos. I’d have to first sculpt it in clay, something I’ve never attempted. After obtaining enough clay, I built an armature, and spent nearly a week sculpting and re-sculpting. Particular attention was given to the “movement” of the base by sculpting the tree in an “S” shape, with the branches designed to hold the saddle in place. Finally, I accomplished the look I wanted. But, could I now duplicate this clay model in wood?

Numerous pieces of Walnut were glued together to obtain the proper size for the base and I’ve begun the project. I’ve learned that by challenging myself anything is possible.
I’ll keep you posted on the progress of this sculpture, which will hopefully be completed by early September

Darwin produces miniature wooden wagon sculptures that are exact replica’s of the originals.

He carves every detail into these miniature works or art to exact scale. Even if there is a spring coming out of the torn seat, it is in the sculpture.

The sculpture to the left is titled Resting in Redrock.

Another one of Darwin’s original wagon sculptures is called, “Sweetwater Crossing”.

“The Sweetwater River, with its pleasing waters, welcomed the parched emigrants to central Wyoming. The waters were made all the sweeter by the previous day’s crossing from the Platte across the dusty, alkali plains. But what initially seemed most inviting about the river — its steady flows — soon turned into a lingering headache.

The emigrants, unlike the river, were not content to meander over the landscape. To follow each bend might consume a day or more. Time being too precious for such nonsense, they crossed it once. . . And then again. . . and again and again, until they had ultimately crossed it nine times.

Though many wagons were damaged and left behind, most emigrants were happy to leave the Sweetwater. Ahead lay the beginning of a long dry stretch over the South Pass.”

See more of Darwin’s Wooden Wagon Sculptures Here.