8
THOSE WITH THE WHEREWITHAL ARE STILL
I ’M SURE
PURCHASING ART.
nationally. My first oversees commission was the World Expo in Brisbane. I built 2 large sculptures for them and that really began my overseas career. And having accomplished that opened the doors even more to working overseas. I made an effort to do that. Since that time I continue to make an effort to find projects overseas, whether it’s a commission or a symposium, and I probably know more sculptors overseas than I do in the States. It’s been a very rich experience because there are so many ways of approaching sculpture that one ends up with in different cultures and countries. So it’s been very rewarding in that way.”
JH: What would your underlying philosophy of sculpture be? What kinds of things are you exploring? JBH: Early on it was a universality of the human experience. I felt that very directly having lived all over, so I wanted to share that perception through my sculpture. And then having studied Tai Chi gave me another experience, a ‘personal body experience’ that inspired my work as well - how making sculpture is very much related to one’s body and physicality in space. So that experience of doing Tai Chi took me beyond a more intellectual approach of sculpture to one more personally physical. Also as a young person I had some spiritual experiences and I wanted to try and convey that in sculptural form. And then just the joy of nature that one sees all over the world – nature has been an inspiration – physical laws, natural developments, form and structure.
JH: Would you say your sculpture is essentially a spiritual journey for you? JBH: For me personally yes, if I can convey that is another question.
JH: Jon, you are living in the States now and you are I think involved with much public art. Are you finding the economic slow-down affecting this much? JBH: Well, there are still numerous public art projects out there. I can’t even keep up with the ones I’d like to apply to. In that sense there is still a lot of work and I’m sure those with the wherewithal are still purchasing art.
JH: So it seems to be a relatively recession free occupation? JBH: Not entirely. I’ve had fewer public commissions in the last couple of years, but I think that can be attributed more to the fact that there are more artists out there than when we started – probably a 100 fold more - so the competition is stiffer – times change. Today it seems like a lot of sculpture and artwork are being designed and created through the use of computers and that of
Kokanee salish
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