Tag Archives: action

“An Eyelash in Bronze”

Would you believe that after being a sculptor (26 years) I am still amazed at the transformation process (the miracle) of how a clay sculpture is turned into bronze. I once went to a foundry to inspect a finished piece. Upon examination, I attempted to brush away an eyelash….only to realize it was part of the piece. The mold had picked up the impression of an eyelash on the clay and it was now cast into metal as part of the piece! Blew my mind.
When every piece I sculpt, I write a “Piece Description”.
“AMERICAN COWBOY”
Sure, there were men who worked cattle decades, if not centuries, before Charlie Goodnight and numerous other drovers crossed the Concho, the Wichita, the Red River, to ‘head beeves north’. Mexican vaqueros new more about roping, branding and riding, generations prior to the iconic ‘American Cowboy’ of yesteryear. That said, the ‘American Cowboy’ did quickly evolve into his own unique living archetype of brashness, moxie, language, etiquette and personal codes to live by. It is amazing that the heyday of the ‘cow men’ (how they truly liked to be referred) lasted a brief twenty years, and yet their impact still defines a lasting image and identity of an entire nation.
Throughout my life, when an image of the ‘Oval Office’ would be shown in either photos, magazines or movies, I’d often see a sculpture(s) as part of the decor. Be it a bust of Abraham Lincoln or Frederic Remington’s “Bronco Buster”, I was always moved by the imagery. After I’d been sculpting a few years, I had a feeling come over me, “I want to sculpt a piece that would be worthy of being on display in the office of The President of the United States. After twenty-five years as a sculptor, “American Cowboy” may be ‘that’ piece.
SCOTT ROGERS
“AMERICAN COWBOY”
24 1/2″ High – Edition of #30
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“Whiskey’s Rebel”

I would never consider myself as having been a good bull rider. Never felt I had the hand strength needed to keep a good holt. Over a three year period (1977-1980) I did get on about 165 head. The time dad came up to Colbert, Oklahoma, to watch me ride, I was very grateful, as he ended up driving me to the hospital with a broken back (Kojak was the bull that did a number on me). He said he watched me flop around out in the arena like a rabbit in its death throws. 
Can’t believe it’s taken me 26 years, as a professional sculptor, to finally get around to creating a bullrider.  

Nothing flips my lid like good dramatic lighting on a sculpture.
There was fell’a who came in to the gallery a couple of years ago and inspired me to create this sculpture. He is the owner of a bull used in the PBR called, “Whiskey’s Rebel.” I love that name for this piece. 


My old bull riding gear. Those are dad’s chaps, he used to bull ride back in the 50s. Those are my vintage “Bob Blackwood” spurs. 


Here’s a photo of “Whiskey’s Rebel”


Native American or Mountain Man?

Cleaning off my shelves with another idea that has lingered too long. For me, it’s actually common to rough in a piece and get the jest of an idea down and look at it for years….as a clay sculpture. Don’t judge the piece too harshly, I’ve only sculpted on it about five days over the past three years. 

The special part about creating this piece is it’s an idea given to me five or six years ago by a client, who has become a dear friend. In his own right, he has the soul of an artist. On numerous occasions I have heard him talk about his love of the arts and weep while doing so. 

If you have a suggestion please send it my way. I’m trying to decide if I should make the person in the canoe a Native American or Mountain Man?



The reason I like it being an Indian is I get to show the human anatomy and not cover it with clothing. That’s straight out of my mentor (Fritz White’s) playbook. 


Another 20+ hours in three days

Since my last post…….I bet I’ve spent another 20 hrs on this piece during the past three days. Finally getting close. “I think”.

My mentor once told me, “You spend 10% of the time roughing in 90% of the piece….and 90% of the time on the last 10% of the piece.” Truth.

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“Being a sculptor is not for sissies”

To quote my mentor, Fritz White, “Being a sculptor is not for sissies”.

It’s been a long time since I’ve struggled with a piece as much as I have with this one. I’ve built it up and torn it down at least six different times.

Yesterday, the words echoed through my mind “nobility of concept”. They were the words of an artist, Garland Weeks, who I took a workshop from 18 years ago. That one phrase assisted me to make a few adjustments for the better.

I’ve learned that a huge part of what I do is “listening to the whispers”.

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