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Erik Ebeling [NM] : Portrait bust of Augustus Saint-Gaudens (1848-1907) [RA ca.1877-1907], 2022.

Erik Ebeling [NM]
Augustus Saint-Gaudens (1848-1907) [RA ca.1877-1907], 2022.
Clay maquette
13-1/2 x 7 x 8 inches
Unsigned.

ABOUT THE ARTIST

Erik Ebeling is from Overland Park, Kansas. He studied at the Lorenzo de Medici Institute of Art in Florence, Italy, and graduated in 2005 from Drake University with a BFA in graphic design and a concentration in painting. After working as a senior graphic designer for Disney Interactive for several years, he shifted his attention back to sculpture, his lifelong interest.
Sculpting in water-based clay, he works on several pieces at once in his home studio in Portland, Oregon. He embraces the full process of sculpture, executing each phase himself, from drawing and creating small maquettes to molding and final casting.

STATEMENT
In my current work I’m exploring mythological figures and creatures, both ancient and contemporary, depicting them not as heroes in action but as observers in enigmatic, meditative moments. This allows the viewer an open avenue to contextualize and interpret the mood and atmosphere created by the physical presence of the figure, without the burden of an overly prominent narrative. In creating these solitary figures, I’m pursuing a kind of nebulous and elusive beauty.

I’m interested in the way light interacts with the textured surface, the way a form can feel rough while still giving the impression of a highly modeled figure. I believe sculpture should be designed to be visually compelling from all angles and distances; as the viewer enters the space occupied by the piece, the ambiguous attitude and disposition of the portrait impels further contemplation of feeling, meaning and metaphor.

Overall, I’m attempting to achieve an effect that is simultaneously ancient and modern; fragmented like the classical marbles, while still contemporary, with gestural textures and modern materials.

Erik Ebeling

There is a massively wide spectrum of approaches to artmaking, but I’ve always felt that this quote by Odd Nerdrum perfectly encapsulates the way I view my process:

First I win the effect.

Then I win the likeness, but lose the effect.
After a long time I win something I can’t define.

– Odd Nerdrum

ARTIST STATEMENT

I have chosen Augustus Saint-Gaudens as the subject for my entry for the Salmagundi Library sculpture competition.

BIOGRAPHY

Saint-Gaudens’ life and works are well-documented and difficult to briefly summarize, which speaks to his wide-ranging talent and influence. The variety of mediums and approaches to sculpture he mastered over the course of his career is incredible. From cameos to reliefs to large- scale bronze monuments of influential leaders, soldiers, authors, idealized nudes, he solidified himself as the great American sculptor of the era. But more significantly, his work helped to change the perception of American artists internationally, and to literally define the visual and cultural identity of the country. His figures hold an allegorical power and presence which reference the great ancient artists of Greece and Rome, legitimizing and elevating the subject.

All that being said, another reason I have chosen Saint-Gaudens is that he clearly just had a phenomenal look. Such character, such a physical presence. How could you not want to sculpt that nose? In researching the Library at Salmagundi, seeing photos of the space, the palettes, the
other portraits, the incredible amount of information in the volumes lining the walls, I believe that Saint-Gaudens, with his accomplishments and persona, are a natural fit. I have tried to present him with a demeanor and presence that will reflect and hopefully also enhance the space, which, like his work, is itself a living piece of history.

DESCRIPTION

The finished maquette is 3/4 life-size, with dimensions of 13.5”H x 7”W x 8”D. Included in my submission are photos of the final clay as well as a painted aqua resin cast.

I have designed the piece so that the face is the main visual focus; chin forward, the shoulders angled slightly to his left, a somewhat minimalistic base, all leading the eye toward the strong, unique facial features, especially in profile. I aimed for an accurate portrait that still felt gestural and somewhat loose, with the modeling moderately rough to compliment and accentuate his facial forms, and to reflect light in more interesting ways than a smoothly modeled surface can.

His body fragmented like the ancient marbles that inspired him, his confident, steady gaze aimed toward the future of art in America that he helped to create.

Thank you very much for your consideration. The library really is an incredible place, and I can’t wait to see all of the other entries.

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