Richard Gillis

ARTIST PROFILE
Richard Gillis was born and raised in Philadelphia, Pennsylvania. He attended the University of Indiana and the University of Oregon, where he studied fi ne art with a focus in pottery and sculpture. In 1991, Gillis learned the art and techniques of welding and blacksmithing and has since created functional and sculptural works for businesses and organizations including the Brooks Memorial Library, T.J. Buckley’s restaurant, and Solar Hill Yoga and Community Center in Brattleboro, Vermont; Newfane, Vermont’s Four Columns Inn; and Windham, Vermont’s Windham Inn. Gillis has also created commissions for private residences in Key West, Florida; Marblehead, Massachusetts; Rumson, New Jersey; Eugene, Oregon; Philadelphia, Pennsylvania; and elsewhere.

ARTIST STATEMENT
Everything in nature grows according to the ratio of the Fibonacci sequence. It is nature’s original formula--the natural relationship of proportions we see all around us. Every living organism grows by this pattern--we see examples in spiral sea shells, butterfl y wings, or the curled head of fi ddlehead fern. This organic formula is the basis of my approach to my medium; I create forms that are flowing and natural. When something looks “right” in nature, it is due to how closely it matches the Fibonacci proportions. When I create sculptures, I judge the form by the natural relationship between the parts.

I work with steel by combining welding and blacksmithing techniques, often forging many pieces of steel then assembling them into a larger form. Combining repeating forms to create a sculpture is a theme in many of my works, much the way a pattern creates a tapestry. I look at the styles throughout history that have stood the test of time: what has function as well as form, and yet elegance and strength of character to transcend an era.

Steel is my medium of choice for many reasons: malleability, flexibility, strength, and longevity. The applications for steel are endless and allow for the creation of a wide range of work--coat hooks and tables to elaborate arbors and gates.

I enjoy using old, recycled steel in my work--combining found steel objects to create sculptures. It’s an interesting process to build a sculpture of, for example, a human, from random steel pieces. The proportions must match and all the components should work together to accurately depict the parts of the body represented. When I search for pieces of metal specifically with the idea that “I need feet,” I’m put on a path of discovery and focus I would never otherwise be on. I open myself up to the complete randomness andunpredictability of the universe through this process.

There have been many styles of artistic expression throughout history. Some argue that “it’s all been done.” But we haven’t yet been where we are today and can’t really know where we might be tomorrow. In that lies the mystery of life--ever unfolding, ever spiraling. Around we go through the expressions and styles of the ages, explorations and desires of the collective consciousness. What can fulfi ll a community’s needs and longings? What is the refl ection of our minds in any given time period?

The ancient Maya looked at time as if it where huge cogwheels interlocked and turning through a grand 26,000-year cycle ending in the year 2012. We are at the end of all the ways man has expressed himself in this cycle. So, in a way, maybe it all has been done--but I see this period as the grand finale and a rebirth of our creative powers through self realization of our collective consciousness; an artistic epiphany of expression. The simple thought I live by: Time is Art.