Sharon Matusiak

The music, Mythology, art and architecture of the Orient, Egypt, Tribal Africa and Native America are the major influences on my work, suggesting themes, symbolic shapes and colors, and even titles. Consequently, my sculpture has many cross-cultural references, often echoing those Eastern and Native influences. Music is also a primary influence. The study of music is a mathematical endeavor and although I haven’t practiced the piano in many years, I am finding now that it is emerging in visual form with geometric shapes being grouped to set up rhythms and scales. The real search for expression in my work is however about our place in the cosmos. As I grow and attempt to understand my own individual role in the cosmic dance I seek to express that need for, and understanding of, the interconnectedness of all life as energy. My definition of life includes not only the plants and animals, but the stars, the earth and indeed every aspect of the universe.All of my sculpture is made with wood which I choose for it’s workability and durability. I cut, carve and build up stock—mostly basswood and birch laminated wood. I also bend wood in the making of some of my newer forms. Creating a highly textured surface with a rich interplay of color on classic forms is the formal basis of my work. I create textures in both reductive and additive ways—that is some of my textures are produced by carving into the wood and much of it is produced by the addition of other materials (rope, twine, reeds, torn canvas, rice paper, metal leaf) to the shaped surface. Many of my pieces have portions that show a crackle surface–these are not clay or raku but rather a painting technique that I use. I chemically create the fractures in the first white layer of paint. After drying I then handpaint the racture sand upper surfaces. Surface texture has been an ongoing process of experimentation for me for the past 20 years when I switched from painting on canvas to wood. During this period I have developed my skills of woodworking and wood carving. To purists my methods and technique are radical. However the unconventional use of materials is key to my success.I have recently added hand-built clay pieces to my wood sculpture. These forms are fired to 1400 degrees and then painted before incorporating them into the bentwood forms. I work in series, creating “families” of pieces, however each is a one-of-a-kind. All but my very smallest ones are individually titled and every piece is signed and dated.