William Catling

"Using the figure as a vessel for ideas and concepts, the work is about the continual discovery of the true human condition residing deep within the earth and the human form. The art is a blending of the visible and the invisible; Matter and spirit joining. The work of the artist, the alchemy of art."

Patient in the Tragic Gap of Every Moment (Bright Sadness), 2014-2015 - Stoneware with mason stains, steel, found objects and wire 74 x 32 x 48 in.

“Reaching into the freshly cut trench, I pulled out a handful of purple-gray clay and began making a place setting for the scheduled afternoon tea. The sun was warm against my skin on this lazy summer day with a gentle breeze to move the grass and keep us cool. Seated on the ground nearby, my companions were busy shaping their own bowls, cups and teapots. Amid this collaborative adventure rose an aroma that kept our parents away and for which we dubbed the clay "sewer mud." And thus began a tradition that lasted many a summer day.”

American sculptor, William Catling resides in Southern California where he serves as a Professor and Chair of the Department of Art at Azusa Pacific University. He is the Founder and Director of the non-profit arts organization, Unfolding Moments, where he works with arts, educational and faith communities integrating art through mentorships, lectures and hands-on interactions. With an art and educational career spanning over 30 years, his professional practices began in the San Francisco Bay Area until he relocated to Los Angeles in 1991. He is an active conference speaker and deeply involved in the integration of the arts into the larger community. A dynamic sculptor, Catling’s work has been exhibited in museums and galleries both nationally and internationally.

"My work has been impacted by very powerful figurative sculptors such as DeStaebler, Giacometti, Buck, Neri and Olivera. I share with them the tradition of creating art of the human condition through the figure as my life’s work.

In my work I attempt to address the loss of our natural sense of being human, that is our deeply intuitive sense of ourselves. We have become disconnected from the natural rhythms of life. The figures are rough, cracked, aged, reflecting both suffering and the internal capacity to connect to others outside oneself. Such suffering can evoke the viewer's empathy and self-transcendence."

 

Education

Masters of Fine Art from California State University, Fullerton in sculpture

Masters of Art from San Francisco State University in sculpture

Bachelors of Art from San Francisco State University in sculpture and painting

Defender of the Silence, 2017 - Stoneware 78 x 16.5 x 16.5 in.
Anticipation of Endless Tomorrows, 2018 - Bronze and stoneware 28 x 7 x 7 in.
Guardian of the Sacred, 2017 - Stoneware 82 x 16.5 x 16.5 in.
Moving Forward with Less and More (Counter Measures), 2018 - Bronze and stoneware 20.5 x 7 x 9 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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