c. andree davidt
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Biography

Born in 1944 at the end of the Second World War, I grew up in the 40s and 50s when industry was thriving and technology was advancing by leaps and bounds. My grandparents had immigrated to the United States in the 1900's from Transylvania to work in the steel mills in western Pennsylvania. This environment played an important part in my development as an artist. I have always held a fascination for metals and have used industrial techniques throughout my career. I was a typical teenager, interested in football and cars, but I also loved to draw and took art courses. My father encouraged the football and my mother supported my interest in art.

When I graduated from high school I wanted to go to art school, but my father didn't think this was a secure way to make an adequate living, so I compromised and applied to Cleveland Institute of Art's Industrial Design Program. My interest in cars and art made designing for the automobile industry a good fit. CIA's curriculum was very well rounded. When I graduated I had a very extensive fine art background, as well as being trained as an industrial designer. I was hired by Ford Motor Company in Detroit, Michigan and spent a few years in their design department. I eventually decided the corporate world was not for me and moved to a small design firm. During my time there I got a call from a friend at Georgia State University offering me an assistantship in the Sculpture Department.  Sculpture was my first love, so I accepted the assistantship and moved to Atlanta, Georgia in 1971 to pursue a graduate degree in sculpture.
Georgia State University began my exploration in sculpture. My industrial design training proved to be an advantage. I had access to many industrial tools, techniques and materials, along with art and design training. During this time I was exposed to different kinds of sculpture techniques, but found myself going back to the training I had in industrial design. I like the industrial techniques used to assemble machines and I found myself using them in building sculpture. Alexander Calder is one of my favorite sculptors. His work inspired me to use a pallet of bright colors available in automotive paint.

"Rocking Horse Moon"

These early pieces were a combination of industrial techniques and materials, but also design exercises using forms that I found interesting. Within the industrial design community there was always a dialogue regarding "form follows function". I was very interested in these discussions and found myself wanting to design sculpture that also had a function.

"Multi-Moon Support Device"

After completing my master's degree requirements and leaving the nurturing institution of higher learning, I was faced with the problem of how to exist in a world in which mere survival takes precedence over aesthetic sensitivities. My first inclination was to return to academia and teach, but sculpture continued to lure me. I rented studio space in the industrial area of Atlanta and began to enter shows, talk to architects and designers and found that there were those who appreciated my work.

I received some large sculpture commissions and learned how to execute large projects, including the political, economic and managerial requirements. I liked doing these projects, but also needed to develop my sculpture in the atmosphere of my own studio.

I was asked to design and build a dining table by an architect and his wife. They wanted something very playful and unique, but also functional, designed specifically for their modern home. I had always been interested in the challenge of designing products that not only perform their function well, but also were interesting sculpturally. This dining table was the first of a body of art furniture pieces that I did over the following fifteen + years. During this period I designed and built one-of-a-kind tables, chairs, lighting fixtures, desks, garden benches, beds, and other functional items for the home. I believe with consummate craftsmanship and an artist's eye, objects can be many things. The important thing for me is that the work provides both functional and visual excitement.

Success with the art furniture pieces afforded me a large, well equipped, fabricating studio. I was recognized within the architectural community, as being able to build well crafted and well designed metal embellishments for a variety of environments.

My studio was given over to doing many commercial jobs as Atlanta grew. The art furniture pieces were being sold in galleries all over the country and I had the opportunity to do some very interesting large scale sculpture commissions.

"Playground for Atlanta"

As the studio grew and demands on my design time for commercial jobs became more pressing, I had less and less time to explore and develop my own aesthetic, and each project, commercial or otherwise, became more a design exercise than a new creative challenge. I decided to sell my fabricating studio and move to the mountains of North Carolina where I would have more free time to explore and develop my sculpture.

"Time Keeper" small clock

Before moving to North Carolina, my wife and I traveled to Taos, New Mexico located in the southwestern United States. For the next nine months we worked and studied with an architect building sustainable houses on the high desert. For years we have been interested in the environment, sustainable housing, better land management, healthier growing practices and generally living closer to nature while doing less damage to the environment. We gained many insights and much knowledge through this experience.  While in NM we also explored the aesthetics and culture of the region. We plan to continue traveling and learning about this part of the country. The community in North Carolina where we have settled is near Penland School of Crafts. Penland is a well known and respected art school. It has a community of artists and craftspeople that I can interact with. The past four years living in rural North Carolina has been a refreshing escape and has enriched my life and my art tremendously.

After our move to NC, I became interested in "time", not only as a concept, but also as a metaphor. I started a list of statements with the word "time" as the theme and realized it was endless. The importance humans place on the keeping of time is unprecedented. While the world around us keeps time with natural rhythms established by the length of a day and seasonal changes, we measure time even more closely. In our desire to save time, or make the most of time, we have divided time into smaller and smaller parts. My fascination with the list of time phrases has become the inspiration for a series of sculptures. The time phrases became metaphors for images depicting a humorous concept for the time phrase. The new series of work has offered me the opportunity to play with function while satisfying my desire to produce sculptural images using the human figure as part of the composition.

"Jest in Time" grandfather clock

"Butler and the Upstairs Maid" sculptural bathroom panel with sink

Since my undergraduate studies at Cleveland, where figure drawing was a major part of the curriculum, I have been interested in the human form. Recently, a client asked me to design a panel or screen that incorporated a sink, to hide a toilet that was in a small bathroom. Since I had been working with the human form, I decided to place two figures in the room, one of which is seated on a stool holding a basin which acts as a sink, while the standing figure is holding a pitcher which functions as the water spout. When I do a design of this nature, I want the client to be very aware of what I have in mind. Building in metal is expensive and doesn't leave room for error, so designing with good sketches, doing architectural drawings with proper dimensions and building a model helps to secure the commission and calm a client's reservations. I learned these techniques in my industrial design courses, used them with all my clients when designing furniture pieces and still use them when thinking about new projects. 

The new series of work has been challenging. They mainly consist of time pieces, but I also have been building mirrors, which I feel are part of the “time” series. Nothing shows time more than a mirror. I find when looking at sculpture today, much of it is nothing more than design exercises. I feel very committed to doing more than that. I want my pieces, whether functional or not, to be personal, to be well crafted and to lend themselves to the imagination, not just pacify. If they are controversial, so much the better, design exercises are rarely controversial.

I love my material, all kinds of metal: steel, stainless steel, copper, bronze, aluminum and I have used them all in my work over the years. The materials may be old, new, used, rusted, painted, found and often given. I love the fact that it takes an extreme amount of effort to move around, to cut, to grind, to sand, and to finish. When finished, it is an incredibly durable object. I even have an intense fascination for the tools and equipment that help me in my process and spend a lot of money and many hours repairing, cleaning and maintaining these tools and machines.
I also love incorporating other materials with the metal. When I build furniture I often use glass and have grown to have an appreciation for it. I have also used wood with metal, which always gives me a new appreciation for woodworkers. One challenge is finding ways to assemble other materials with metal so each maintains its integrity and does not detract from the other. I like the hinges, bolts, nuts, screws, and complicated attachments that hold the sculpture together. Some sculptors start with a whole and take away. I fabricate, cut out pieces and assemble them. Another challenge is how to put the sculpture together so it functions and is aesthetically pleasing. I like paying attention to details and often get very carried away with intricacies that I know no one will notice. This is part of the process I enjoy. The process is what it's all about for me. It's the fun part of being an artist. The reward is the finished work.

 

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Carl Andree Davidt
555 Old NC Hwy 226    Spruce Pine, NC 28777
828-765-0829    email

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