Working mainly in
marble and alabaster, sculptor Easton achieves a rare balance of abstract form
and feeling. His contemporary sculpture
is rich with archetypal associations. Organic
and sensuous, each piece evokes a visceral response, inviting the touch.
1976, Easton usually works intuitively, selecting materials for their inherent
qualities and form and working guided by the dynamic interaction of his
materials and tools. Self-taught, he
carves stone ranging in size from four inches to four feet, and from 5 to 500
A 1989 sculpture
intensive in Carrara, Italy, furthered Easton’s expertise in marble and exposed
him directly to cultures where the tradition of statuary lives vitally. Working alongside other international artists
and artisans, he followed in the tradition of sculptors from Roman and
Renaissance times, producing a substantial body of work from Carrara marbles.
Easton was born in
1945 in rural Pennsylvania. In 1968 he
received a B.A. in Chemistry from La Salle College (now University) in Philadelphia, and in 1970
he received an M.A. in English Literature from the University of Oregon in
above are the kinds of things that can be said and still not really say
anything about who or what a person is.
The following is an extended, personal statement that I hope is more
"Born at the end of World War II, in rural eastern Pennsylvania where
George Washington slept his way through the Revolutionary War (the signs say
so), my first love (after the obvious nest of family) was the Nature of fields
and woods and stream and their inhabitants.
My second and third (in some order) were books and, unfortunately, TV,
both of which, along with childhood illnesses, distracted me from a healthy
sense of reality and supplanted it with romantic make-believe versions of how
the world is.
a youth directed at an academic career, first in science and then in the
humanities (I even was going to become a monk in a cloistered monastery at one
point), I chose hands over head and “became” an “artist,” first as an
avocation, but quickly as a profession, a career. Because I approached my career with romantic
hopes, I have spent most of my sculpting years working at a variety of “day
jobs” to provide for the necessities of life while I produced sculpture when I
could. I’ve tried to avoid the type of
jobs that would require commitments that would divert me from sculpting, but
the work and the migration from job to job has been its own major distraction.
view my pieces as vital, formal compositions; the resulting unity may be
completely non-objective or may be a recognizable abstraction, but what
determines its success, to me, is a quality of ‘rightness’ that should shine
forth: the piece should be able to stand by itself and be believable. My goal is to create an idiosyncratic image
that will yet be acceptable to and responded positively to by someone examining
sculpture is a thing unto itself; it is what I do, what I’m good at, what I
conceive of as my work, my role in life.
I sculpt; I am a sculptor. It is
as a sculptor that I feel right, feel that I am fulfilling my role, my place in
"For most of the three dozen plus years that I have been sculpting, I
have, with rare exception, attempted to produce objects of beauty and
completeness. They have been abstract,
non-objective, but, to me, beautiful. At this time in my life (and career), driven by dwindling energy and
difficult economics, I have embraced an additional set of values, objects of
interest. Previously I had striven to
make my pieces as flawless, literally and figuratively, as possible, removing
material or even breaking pieces to eliminate faults in the stone. I won’t say that I heartily embrace such distractions
now, for I don’t, but necessity and interest impel me to allow a certain level
of fault, of incompleteness, of lack of resolution, of strangeness, or
irregularity. Some of these pieces are
clearly great to me; some are open questions.
I don’t feel tied to this current movement in my work, but I am
exploring it with interest in the results.
I age, time presses more heavily on my mind (and body). I chafe at the restraints of reality, money
and health and time that limit my range of work options, at the same time that I want to goof off and have a good
time and watch nature do its things.
Where I live the ravens, owls, crows, coyotes, wild turkeys, and cows are my neighbors. The deer slip in and out at night. The damn gophers make tunnels like Swiss
cheese. The wind, trees, clouds, fog,
and sun dance the dance of the cosmos.
The Pacific Ocean, not too many miles away, is something that anchors
me to this place: the water, rocks, and light, beaches with treasures of
pebbles and wood, seals, hawks, and more.
As humanly-produced and therefore “artificial” as my sculpture is, to me
it fits into this picture of the wondrous nature in which we live."