A Delightful Conversation with Sasha Feldman
Photocredit: Elizabeth Seacord
Sasha Feldman is an American contemporary artist living and working in New York City. Sasha's artwork has been exhibited both nationally and internationally in galleries such as Sullivan Galleries, Artgeneve, and elsewhere. I had the honor of asking Sasha some questions about what about sculpting he is most fond of, how are creating series more appealing than making separate pieces, and what he hopes people will know about him through his art.
UZOMAH: Do you sculpt from your ideas simply from head to hand or do you draw out what you sculpt first?
SASHA: Often I begin a new piece with very few expectations for the final result. My drawings influence my sculptures, though not directly or intentionally. When starting a new piece, I usually begin by building a rough foundation. I then build up the sculpture, one area at a time, smoothing areas over with my hands and making sure the structure is sound. I have a conversation with the clay; the clay informs my actions and there is a consistent push and pull.
Occasionally, I do several drawings before I sculpt, but these drawings exist independently--they are not studies for a sculpture, they are their own works of art.
“Dance”, acrylic, 2020, 10.5x12x1 inches
U: What about sculpting are you most fond of?
S: Sculpture and the human body exist within the same dimension having a relationship with the physical world. What I find most compelling about sculpture and ceramics is the physical process of creating a piece. When working with clay, I do not have to shift gears. As I begin the process of building a sculpture I become completely focused on my relationship with the clay and the way it feels leads me into the mental process of envisioning either an object or creature. My hands follow my imagination as it unfolds.
I have always gravitated towards physical objects; objects you can hold objects that can be placed in relationship to one another. I feel connected to objects that have a personality and a sense of history or a sense of humor. I collect such objects and have done so from a young age. From ancient artifacts or facsimiles of artifacts to toys or sculptures which seemed to have a certain spirit, I was drawn to these as I felt they wanted me to know their stories. Sculpting allows me to create and bring these types of unusual objects into the world.
“Green Beast”, glazed cermaic, 2013 18x6x6 inches
U: What about art keeps challenging you, keeps you excited to do what you do?
S: The most challenging thing about creating art is for an artist to maintain confidence and a belief in their work. It is too easy to compare what you are doing with what others are doing and to plant self-doubt. At times, I have found it challenging to maintain my own idea of success and not compare it with how other artists envision their own success.
As an artist, I am motivated by those moments when I surprise myself. When I do something new and place myself outside of my comfort zone, it’s exciting when the end result produces something completely unexpected and successfully different. These breakthroughs are incredibly energizing and are the most important moments for me, and I suspect for most artists--the moment when you see something in a new way and achieve a deeper level of understanding of what you are working toward.
“Moontan”, glazed ceramic 2011, 29x29x8 inches
U: Who are some sculptors that have had the most influence on you?
S: I am very drawn to the work of Brancusi, Henry Moore, and the Modernist sculptors, their surface treatments and sense of movement, and their respect for tradition while also pushing the medium forward. I admire the work of the ceramics produced by Ken Price, and of those by Ettore Sottsass, the founder of the Memphis Group.
My biggest influences actually come from the work of unknown artists, sculptors from the ancient world whose names have either been lost or who didn’t attach authorship to their work: The Nazca Lines in Peru, Stonehenge, the Colossal Heads of the Olmec, the Lewis Chessmen from the Isle of Man. Growing up in New York City, my favorite places were the museums which provided me access to the artifacts from these civilizations. As a young child, the lines between reality and fantasy were more blurred. I was fascinated by the mythology of ancient cultures and the similarities between them. On occasion, I have had the opportunity to travel to some archaeological sites. These experiences still nourish the realm of my imagination and stir a deep curiosity about who these people were and how they created both these incredible structures and the mythologies of their creatures.
“Shipping 2”, Acrylic and metal, 2020 33x38x16 inches
U: What materials do you prefer to use to give your pieces a more life-like appearance?
S: The wonderful thing about working with clay is the limitations that exist within the medium. I often have a difficult time making decisions, and I find it helpful when the material itself has physical limitations. Glazes as well have their own constraints and chaotic unpredictability. In my ongoing series of ceramic sculptures, “Idols”, the majority of my finished work have matte shades of pastels. The final result is a sculpture that appears soft to the touch. My fingerprints are present in the treatment of the surface of the pieces. I deliberately do not overwork or smooth out their surface. The texture of the sculptures appears dimpled, organic, and indented revealing the way in which I handle the material.
“Yellow dog”, glazed cermaic, 2013
U: Can you discuss your series involving acrylic wall reliefs and drawings?
S: My series of acrylic wall reliefs, sculptures, and drawing is a new process for me. This series, which has yet to be given an official title, began with my being curious. I was attracted to the bold and vibrant colors of the acrylic sheets, and I was eager to experiment and push the limitations of the material. Through the process of layering laser cut forms of acrylic, I became interested in creating tension and immediacy in the work. By layering transparent and opaque acrylic forms, using a variety of thicknesses, and leaving gaps between some layers, I was able to construct space that translated my curiosity in pushing the material. The work is still in development and I am excited to see where the series will go.
“Zagman”, glazed cermaic, 2012 35.5x15x5 inches
U: What about making a series of art pieces makes it more appealing than separate pieces?
S: Making a series of works allows me to expand on an idea. I am able to focus my intentions; I have forms to refer to and colors to respond to. Why not try variations on a theme? I create creatures in my work and depending on the series, they all exist in the same universe. They do not live independently--the art would be lonely by itself. I occasionally make individual works that live independently, but I enjoy the process of creating relationships between works within a series.
“Vessel”, circuit glazed ceramic 2019 17x10x6 inches
U: How do you use art to explain historical periods in society?
S: I use art as a method to synthesize my contemporary and historical influences. I look to the past as a way to both understand the present and reframe the future.
“Cradel”, glazed and unglazed ceramic 2013 7x8x6 inches
U: What is something you would like people to know about you through your art?
S: I enjoy the fact that when viewing an Idol from an ancient civilization, you begin to understand the object within its time frame and try to extrapolate an entire history and mythology. I love the primitive nature of these objects and hope to convey something similar as well as a sense of childlike innocence with my work.
When people view my art, my hope is that it leaves them feeling optimistic. My work has a sense of playfulness; it is lighthearted and approachable. I also wish to present something strangely alien and to suggest there are still mysteries to be solved. I hope my work connects people with a sense of curiosity about what is in their own imaginations--to inspire them to ask more questions, to see things more inquisitively, and to be positive about the world around them.
To find out more about Sasha’s artwork please visit here. For more updates, you can follow Sasha on Instagram.
