ABOUT ALAN CARTER STUDIO
To enquire about any of the available pieces on the site, please contact me at 630-971-0690 or apcarter@sbcglobal.net. I can answer any questions you have about the piece you're interested in as well as anything else you want to know about my work. Or me, for that matter. You can pay with a credit card through Paypal, check, or money order. Once I know your location, I can determine taxes and shipping costs, if any, and provide you with a total. It's an overused phrase, but your satisfaction is guaranteed. Buying original artwork on the internet can be a daunting task since you can't actually see and touch it. This is especially true of sculpture and furniture where the piece exists in three dimensions. Photos don't capture the essence of its construction and visual presence. If you purchase a piece from me and aren't satisfied with it, you may return it, in its original condition and prepaid, within 30 days.
1997
Acrylic: 39" x 68"
See more PAINTINGS
2002
Birdseye Maple, pommele sapele, maple, santos mahogany, wenge
120"W x 96"H x 31"D
See more ENTERTAINMENT CENTERS
RELIQUARY- "BUT WAIT, THERE'S MORE"
2009
Jatoba, Cherry, Figured maple, African blackwood, Wenge, Brass rods
10"Wx7"Dx20"H
See more turning and sculptures
2009
Rosewood, Wenge, Tiger stripe maple, Brass rods
16"Hx7 1/2"Diameter
See more turning and sculptures
In more than two decades of painting I learned much about form and composition, technical prowess, and the emotional impact of a work of art. Over the years I exhibited in countless art shows, won numerous awards, and had my work placed in private, public, and corporate collections across the country. As the century drew to a close, however, I also began to feel I was running out of things to say. The sizzling cauldron of creative passion had begun to cool and I sensed a shift in my focus.
In one of those inexplicable leaps of faith and common sense, I decided to pursue woodworking full time- from 2-d to
3-d in both the figurative and literal worlds. It had been a hobby for almost as long as I had been painting and I enjoyed it immensely. I built a number of furniture pieces for our home and had been making the frames for my paintings for years.
As I made the shift from one medium to the other, I relied on my years of observation and artistic sensibilities to guide me. The same principles that shaped my painting apply equally well to my woodworking. An eye for strong design coupled with a high degree of craftsmanship is the foundation of my work. I'm influenced by the architecture and city life I painted for so many years and that is reflected in my pieces.
Now I've entered a third phase in my artistic career. I'm using a wood lathe along with all the other tools in my studio to create turned vessels and sculptures. Although these pieces are less functional than the furniture, they have the same attention to detail and strong sense of design and craftsmanship. They allow me to try new ideas and explore interesting spatial relationships without having to think about drawers, doors, table tops, etc. Often the pieces change and evolve as they develop, sometimes in surprising ways. I'm looking forward to seeing how all this grows and blossoms.
1948-1965- grew up in Connersville, IN and Rochester, NY; while in Rochester developed a strong interest in jazz and classical music, thanks in large part to the presence of the Eastman School of Music and weekends at local jazz clubs
1965-1970- attended Indiana University School of Music, majoring in bass trombone (somebody had to)
1968- married the former Penny Akens, now the corporate wizard CPA, sparing her from a life on the road with Connie Steven's future drummer, a fellow student and romantic rival
1969- was graduated from I.U. with coveted degree in bass trombone
1970 and 1973- begat two perfect children, Theresa and Adam
1970-1977- seven years of blue light specials with the management program of K-Mart. Hey, even trombone players have to eat. They did let me select the background music, though.
1974- began painting as a hobby, thanks, oddly enough, to the friendship and encouragement of a fellow K-Mart employee
1977-1999- pursued a full time art career painting photorealistic urban landscapes
1999- 2009- designed and built contemporary furniture and accessories
2009 and beyond- designing and creating turned vessels and sculptures
Good design is the bedrock upon which any successful artistic enterprise is built. The psychological space a work of art occupies, its visceral magnetic allure, is as meaningful as its physical presence. As an artist, I'm keenly aware of the importance of this principal. The measure of success I achieve is directly related to my understanding of these dynamics.
Craftsmanship is also unequivocally vital. Solid construction technique, an understanding of wood behavior, and attention to detail are an absolute prerequisit to the success of the finished product. Every component of a piece deserves the same degree of scrutiny and attention. Each part is an integral component of the whole.
As I stated above, I spent much of my professional life in the 2-D world, painting photorealistic street scenes on canvas. Years spent photographing and observing urban life taught me much about form and design. Odd, seemingly random patterns can spark a new idea or fresh approach to a piece.
My design influences are many and varied. The shapes and proportions of interesting buildings may spark an idea. Almost any other artwork can have an impact. Art Deco and Asian influences are certainly evident in some of my pieces. Often the wood itself will suggest an idea; a particularly unusual grain pattern or texture can trigger an interesting project. Even organic sources such as land formations and plant structures exert their subtle pull.
Wood combinations are also very important. The interaction of various grain patterns, colors, and textures can define a piece and it's impact on the viewer. Too much going on and its a visual jumble; too little and its pedestrian and dull. I spend a great deal of time sorting through my collection of different woods (and other materials as well) to find the right combination that will conspire together to lift my work to new heights.
Often it's an open-ended process. Much of my work grows and matures on its own. That is, I may start with a specific idea, but as things progress new thoughts come to mind and the piece may change direction. Woodturning, like stone sculpture, is subtractive in its approach. You cut away at something to reveal the hidden inner beauty it holds within. As shavings fly off the piece of wood, new patterns emerge as well as new spatial relationships. This affects the way I further compose the piece and surprising things often result that completely transform the final object.
That's a big part of the fun, and it can be an even bigger challange to free my mind and let intuition and inspiration take over. It's a calling with many rewards and I'm grateful to be a part of it.
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