Edward Fleming documents
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List of Sculptures
Edward Fleming, Sculptor
List of 20 Introduction Sculptures
10 Studio Sculptures
(H"xW"xD")
Title - Year - Material - Edition - Dimensions
1234 - 2003 - marble - one - 12 x 11 x 42.5
Be A Man - 2009 - limestone - one - 35 x 8 x 11
Dream IV - 2001 - marble - one - 21 x 30 x 15
Gaia’s Daughter - 2003 - marble - one - 24 x 20 x 24
Grief - 2003 - marble - one - 43 x 12 x 11
Infinite - 2010 - limestone and bronze - one - 33 x 11 x 8
Possibilities
Jealousy - 2008 - limestone - one - 41 x 21 x 20
Newborn II - 2015 - limestone - one - 16x13x2
l’Abbraccio - 2006 - marble - one - 38 x 21 x 21
To Hold You - 2007 - marble - one - 4 x 8 x 6
That Way
10 Public Art Sculptures
(H"xW"xD")
Title - Year - Material - Edition - Dimensions
Diving Woman II - 2013 - marble - one - 8'-2"x3'-0"x1'-8"
Eros - 2010 - marble - one - 50 x 30 x 30
Golden Spiral - 2012 - marble - one - 72 x 74 x 38
Greece 2015 - 2015 - marble - one - 9'-10"x 5'-0"x2'-7"
Southern - 2007 - limestone - one - 10'-0"x2'-6"x4'-0"
Crescent
The Management - 2013 - marble - one - 5'-5"x4'-2"x2'-9"
of Savagery
Twin Moons - 2007 - limestone - one - 3'-0"x4'-0"x10'-0"
Two Hands - 2012 - bronze and - one - 13'-3"x5'-0"x5'-0"
granite
Welcome - 2014 - marble - one - 4'-0" x 9'-6" x 5'-0"
West Basin - 2005 - limestone - one - 3‘-3"x2'-2"x9'-0"
Preserve Entry
Individual Sculpture Descriptions
Studio Sculptures:
“1234”
This sculpture is a story of love and redemption. It’s about a man and a woman who suddenly find themselves neighbors after having lived in the same, small village for a number of years without ever encountering each other. Both were in times of profound transition and change. Life evolved and they reached out to each other.
Very early one morning, about half-past midnight, they took bets on how far their respective windows were from each other and then went outside to measure that distance. They were amazed to find that the length was 123-feet and 4-inches.
So began a gradual, collaborative process of writing a
123’-4” poem that was still underway when this sculpture was completed.
" Be a Man"
Aspiring to become a pillar of one’s community is something most men in our culture consider at least once in their lifetime. The result, in my opinion, makes about as much sense as that which is created by the cultural demands put upon the “perfect” woman.
"Dream IV"
This is the fourth sculpture in a series of eight pieces, four of which I have carved in marble and four which are currently in maquette form and cast in bronze. In the first sculpture the subject is in very deep sleep, completely unconscious, in a dream state.
This is where the figure begins to respond to and engage with the sense of presence and touch of another person. Is that person real or imagined? Could it be you? This sculpture asks the question of where the threshold is between imagination and reality and whether or not that doorway is in a fixed position. When you touch this sculpture, what do you feel? And following that experience, if you pay attention to your dreams, you may see where this goes.
The "Dream" series is an intimate consideration of the shift in energy from deep sleep to gradual awakening and arousal. It is talking about the differences as well as the similarities between dreaming and wakefulness and the balance between the realities of thought and action. This work is also about the immense energy of passion.
The eight pieces in this series are each individual sculptures but they also work together as one composition. As a group, they become a study in motion, like stop-action photography. When all the pieces are aligned in series, the torso appears to move. When one not only scans from one direction to another, but also walks around the group, while scanning and changing the elevation of view, the perceived movement of the torsos becomes far more complex.
The focus of this series is the body's center, the chalice, the source of physical power and sexuality. This is why there is no face to detract attention from this nexus.
"Gaia's Daughter"
This piece is a continuation of the ideas in "Gaia meets Coriolis" (see text following sub-gallery). The large hand belongs to Gaia herself and she is holding the egg/Earth. Emerging from the egg is her daughter, embodying the full potential and power of the continuum of woman-mother-creator.
The Daughter's body and Gaia's hand are at very different scales (about 1:8) but they fold into each other the way two hands can interlace. This represents the way the inner and outer universes fit together. For example, the convex curve of the daughter's forearm is nestled into the concave curve of the first section of her mother's thumb. I see the inner and outer universes fitting together in a continuum of form and space from molecules and DNA to the egg within the mother who is within the Earth, within the solar system, within the galaxy and then the universe. Then there is the question of layers or dimensions beyond that. The time-continuum of interconnected lives is also manifest in this sculpture.
As in "Gaia meets Coriolis" the sphere (in this piece it is a hemisphere) is Earth, the egg and the cell. It is solid enough to support the emerging life and also flexible enough to morph to the pressures exerted by both Mother and Daughter.
The Daughter's hair moves like both water and fire: it can defy gravity. It is the charge that comes from the circuit between Mother and Daughter, past present and future.
“Grief”
In the autumn of 2002 I was confronting the reality of ending a twenty-year marriage, reconciling this with my two young children and dealing with the resulting deep depression that had been relentless for over a year.
An image of what I was feeling came to me one day and I sketched it onto a scrap of paper. The drawing was compelling enough that I decided to make a rough clay maquette of the idea. As I was shaping the clay I literally felt the sadness and weight that I’d been carrying for so long move down my arms, through my hands, out my finger-tips and into the clay. My entire sense of being shifted in about an hour as I made this simple study.
There was no question then that I needed to make this image in stone, both for my own survival as well as to share this metamorphosis with other people who’ve encountered profound sadness. I made another, small, more detailed maquette and then moved into the stone which I completed in the spring of 2003.
The composition of the piece is fairly simple. My intention is for it to be viewed by walking around the piece
counter-clockwise, starting at the left side and moving slowly all the way until you reach the front. At the beginning, the image portrayed is one of strength and calm and only the inclination of the head would give an attentive person the suggestion of sadness. But that posture could also be seen as concentration or meditation. As you move you see a strong body rooted in a rough stone block. This speaks to the culturally taught image of
composure that many of us project regardless of what we are actually experiencing or how we are truly feeling. At the right shoulder you see the left hand coming through the hair and resting there, giving comfort. Moving to the right side you, again, see a very strong arm which is twined with the figure’s long hair. At this point you are expecting to encounter the face and anticipated personality of the figure but what you confront are profound voids where the face and belly should be. Here the stone is cut very deeply, almost to the skin at the back. The right hand tightly grips the left arm just below where the face would be. This image of evisceration is exactly how I felt until I finished that first clay maquette.
I brought “Grief” to a large, outdoor sculpture show in Loveland Colorado in the summer of 2003 and was amazed and re-affirmed by the reaction people had to this piece. During the course of the show, a number of both men and women stood there looking and openly weeping. Several of them told me their stories and how this work spoke to them. I realized that because of the long hair I carved as well as the lack of a face to identify, some people took this to be female while others recognized it as male. I actually modeled the figure on myself, but the hair is considerably longer than mine. I realized that because of this dual gender identity anyone could bring their own story to rest inside the piece.
I’ve had the great fortune to get to know the painter Sam Scott, who once told me about the courage it takes to not only face your terror and sadness, but to embrace it and then discover that the other side of what you’ve been so afraid of is actually love, beauty and peace. He used his hand, held up like a shield , knuckles out and then slowly rotated it to the palm to illustrate what he was saying. When Sam told me this after seeing this piece in an
early stage of carving, it was like a benediction for me and the work.
The knowledge which comes from this experience
is nothing less than the antipode of grief and the source of healing.
"Infinite Possibilities"
I have long admired the elegant work of bronze sculptor CT Whitehouse. For some time we've talked about the idea of working together on sculpture and this is our first collaborative piece. CT's vessel, titled, "Infinity" is held by my stone hand which is supported by and part of my neo-classical base. The title reflects the potential limitlessness of creative collaboration which, with the right combination of people and intention, can be manifest in virtually any endeavor.
Through this collaboration, we've created work that expands and ennobles our respective art forms. The first sculpture, "Infinite Possibilities" is well titled for both this work of art as well as the future of our collaboration.
CT and I develop design ideas through dialog and drawings. When a design is polished and agreed to, the process of making the sculpture begins. At his studio, Whitehouse meticulously creates the bronze vessel that will rest in the stone. This is a multi-stage process that begins with shaping and carving clay, on through orchestrating all the steps of the foundry process. Once completed he sends the cast bronze, without patina, to me. I then begin the painstaking process of fitting the complex shape into the carving block. When that work is completed and the bronze vessel rests snugly in the stone block, I then proceed with carving the balance of the sculpture in stone. When the carving is finally completed, I return the bronze to Whitehouse who then applies the patina finish. The final bronze and the final carving are then reunited to create the complete sculpture.
We are currently developing designs for other sculpture, some of which is monumental.We both have long experience with commissions and welcome the opportunity to expand our collaboration to include clients interested in concept and/or site-specific sculpture. Our work is represented by the National Sculptors' Guild and Columbine Gallery (www.nationalsculptorsguild.com or alyson@columbinensg.com ).
“Jealousy”
Jealousy is an emotion that for many people can be an occupying force, a kind of possession. My intention is to express the conflicting energies of anger, resentment and misery contrasted with the possibility (or delusion) of re-connection. The figure’s head is turning down and to the right, towards the archetypal warrior/masculine side. His arms are defensively crossed but his right hand is also reaching out and towards the left, feminine side. His body is embedded in the stone at his right side and becoming free on his left. He is, at once, both turning away and trying to reach out. And his head is on fire.
"l’Abbraccio"
The concept of union and the balance and exponential energy that can result from that is central to my understanding of human relationship. For me it is also a variation on the theme of how life works from the sub-atomic level out into the universe. I believe that the energy which radiates from this union is the same energy that choreographs our solar system.
"To Hold You That Way "
This sculpture was actually a parting gift to Linda, with whom I lived for almost five years and loved deeply. I wanted her to remember my intention although I also realized we'd never be together again.
Public Art Sculptures:
"Diving Woman II"
In August and September, 2013, During the Greek Marble Initiative, Fleming carved the sculpture titled "Diving Woman II" from a 4-ton block of Kozani marble. A vertical, diving female figure, in high relief, is captured in the split-second before her fingertips break the surface of the water. The sculpture is life-size, modeled on his partner, Sherry Tipton and stands 250cm (8 feet) tall. The figure is nude, feminine and athletic. In this sculpture, Fleming presents a woman who personifies great confidence and daring. She is strong, physically, emotionally and intellectually and is taking a bold risk. She is ready to take this leap of chance. And she does so with grace, beauty and style.
"Eros"
During the summer of 2010, I was invited to participate in an art symposium at Pamukkale University in Denizli, Turkey. This was an incredibly positive and life-changing experience for me and is another story in itself.
This sculpture is titled "Eros" and the intention is to reflect this classical idea of life and love. The hand, which is three times life-size and modeled on my own, holds an open egg shell which represents the earth and the source of life. (You may see an embryo-like form in the veining of the marble, inside the egg.) The hand and the egg arise from a spiraling, uprising network of light and shadow forms which represent the rotating, cyclical quality of the universe and human life.
In the northern hemisphere, with the back of the hand oriented North and the open side of the egg South, the sculpture appears to track the course of the sun as it moves from East to West.
Embracing Eros, an experience which can be simultaneously nourishing and terrifying, is what Epicurus was referring to when he spoke about a life well-lived.
"GOLDEN SPIRAL"
There is a hidden relationship of proportion between all living things.
The chambers of a nautilus shell have the same patterns of proportion as
the veins in a fig leaf or the fingers on your hands. This phenomenon has
been called the Golden Mean; the Golden Rectangle and the Golden Spiral.
Since the times of ancient Greece and Rome, as well as many other older
civilizations, it has been the foundation of proportions for classical
architecture and sculpture. This sculpture is a reflection of the
relationship of proportions between the human form and classical
architecture.
The viewer will see a man, floating in what appears to be
simultaneously a still body of water and the capital of a column. He is
gazing, meditating upon the surface of the water. His arms are
outstretched and the profiles of his face, hair, shoulders, arms and hands
are well defined against the sky. His hands dip below the water and align
with the Ionic spirals at the edges of the sculpture. Here, the man and
the architecture are one, creating a synthesis in form between a living
person and the architecture he designs and builds as a reflection of his
form, which he then leaves for future generations to explore and
understand.
And there is another hand which emerges from the water and holds the back
of the man's head in a firm grip. For all the creativity, consideration
and hard work artists brings to their art and architecture, there are
almost always other forces, distractions and demons that challenge the
artist and must be met.
When you consider that marble is metamorphosed limestone which was created
by the sedimentary deposits of sea life hundreds of millions of years ago,
you realize that this connection between the human form, marble sculpture
and architecture and the nautilus shell, or the golden spiral, is poetic,
to say the least.
"Greece 2015"
I carved this sculpture from a twelve-ton block of marble at the Greek Marble Initiative symposium in Sourotis, Thessaloniki, Greece during the summer of 2015. This is a larger than life-size sculpture measuring 9'-10"x 5'-0"x2'-7".
The idea for this piece derived from a much smaller sculpture I carved in 2003, titled "By My Fingernails". The subject of the earlier piece reflected life as a working artist as well as a situation which anyone who's ever taken great risks will relate to. I submitted the design for the larger sculpture to the Greek Marble Initiative in 2013 and it was accepted, but at that time there was not a large enough carving block available. When I arrived at the 2015 symposium, to my surprise and delight, Stavros Muronidis presented me with a block almost exactly the same dimensions as I'd requested in 2013. So, after a 12-year wait, I was able to begin this project with the working title, "By My Fingernails II".
As I began the project in June, 2015, the events of the Greece-European Union economic crisis were unfolding daily. From where I was, what I read and through many conversations with Greek friends and others I met, from average people to intellectuals, I came to understand this crisis from the Greek perspective both in terms of current affairs and ancient history. What I was left with was a profound respect for the people of Greece in addition to an educated and intuitive sense that the country would ultimately prevail.
The figure of the man represents the people of Greece. He's in an obviously difficult and dangerous situation, hanging off the edge of a cliff by the fingers of one hand. But he's also obviously very strong and there is no doubt that he has the strength and experience to not only manage the climb successfully but also continue to thrive at the top. So this sculpture is a reflection on an extremely challenging event in Greek history as well as an optimistic statement that Greece will prevail and ultimately succeed.
"Southern Crescent"
This sculpture is also an orientation monument. It was installed in September, 2007 with the intention of marking the entrance to another new neighborhood within the Galisteo Basin Preserve, called the Southern Crescent. The site for the sculpture is at the top of the generally circular road that rings the neighborhood where it intersects with another road that leads to this part of the Preserve.
The site provides a very dramatic discovery when first
approached. From this point you look across the southern expanse of the Galisteo basin to the foot of the Ortiz Mountains which rise to classically rugged peaks set against the deep blue New Mexico sky. Right here, you truly understand the meaning of the Galisteo “basin” as the land below you looks so much like a nestled bowl or even a cupped hand. There is a powerful upward motion of the mountains in the Southern background and a broad expanse from left to right (East to West) as you scan the huge Eastern mesas, Cerro Pelon, the shadowy Manzano mountains so far away, Sun Mountain, the Ortiz range and then, in the distance and to the South-West, the enormous Sandia Mountains. There is a great sense of distance: the views to the Sandias and Manzanos are 75 to 100 miles away, respectively. Here there is a strong conjunction of vertical and horizontal form and there is also a sense of containment from the hills and ridges behind the site to the North.
When approaching the site from the road, a viewer’s movement causes the sculpture to appear to move from right to left, in front to the Manzanos, Sun Mountain and Cerro Pelon. At the same time, it appears to rise from below the mountain peaks to break the horizon as it moves across Cerro Pelon. So a viewer’s physical motion while approaching the sculpture allows the monument to emphasize the horizontal and vertical expanse of mountains and sky.
The plan of the Southern Crescent neighborhood is more or less circular, as is the Galisteo Basin, which contains it. The horizon and sky create a strong circular or almost amphitheater form. The more I studied this site, the more the sense of circular containment and motion became obvious to me. So it felt appropriate to speak to this as well.
This sculpture is a sun-bowl. The angle of the bowl’s rim, which is carved into the top of the eight-ton limestone block, corresponds to the average angle of the sun at its meridian, or solar noontime, at both the Spring and Fall Equinoxes. This is about 55-degrees above the Southern horizon. Starting on March 21st, the Spring Equinox, the first sliver of sunlight will appear on the bottom, inside edge of the bowl. From that day until the Summer Solstice, June 21st, the bowl will fill a little more with sunlight each day until the sun reaches its greatest height in the sky on the Solstice. From that day until the Fall Equinox, the sunlight will empty from the bowl a little more each day. The sun will make its last appearance, once again at the bottom inside edge of the bowl, on the Fall Equinox, September 21st. From that day until the next Spring Equinox, the bowl will be in shadow as winter takes hold.
My intention is that people who live near this sculpture will, over time, see this cyclical movement of the sun, light and shadows and become aware of how much this land reflects and is connected with the circular nature of the solar system, the universe and, most importantly, time.
"The Management of Savagery"
When I first heard the phrase, "The Management of Savagery", the sheer absurdity of the idea immediately brought the image of this composition to my mind's eye. This sculpture presents the futility of war and violence and its cyclically destructive nature. The general form of the sculpture, viewed directly front-on, reflects the ancient ouroboros composition of a snake eating it's tail. The cyclical symbolism is intentional but in this sculpture the end of the snake's tail is a human hand that is grasping and attempting to control the snake, which in turn is biting and poisoning itself just below the hand. The composition becomes more complex as a viewer walks around it and sees the viper gathering energy to strike.
On an individual level, the victim often becomes the victimizer. And on a national level, the same result often occurs. Violence creates reactionary violence which in turn creates even more. This cycle of violence is apparent from individual relationships and families to regional and international conflict throughout history. After roughly two-hundred-thousand years of evolution, our species, homo-sapien-sapien, is still attempting to control and solve conflicts by killing itself. This is a fundamental problem that needs to be faced.
Here, the snake's fangs are set at the average adult's eye-level. So when people walk around the sculpture and eventually align their view with the snake's gaze, they will find themselves directly facing the problem, this vicious circle. My intention here is to cause at least some people to think, question and then talk with others about this terrible reality so that there may be some hope of change. Change is our collective hope for evolving beyond savagery.
"Twin Moons"
This is the second monument for the New Moon Overlook neighborhood, installed in May of 2007. At about the center of the distance across the site, there is a long, bow-shaped traffic island which divides the East-West roadway and the sculpture is sited at the center of this island.
The island is first approached from the west when entering the neighborhood and the east when leaving. The sculpture represents the setting full moon at the Spring equinox as viewed from the eastern approach and the rising full moon at the Autumn equinox from the western approach. The seasonal center-point and symmetry of the equinoxes relates to this monument's geographic location. Also, the “moons” are aligned on a solar North-South axis so that at solar noon the shadows from the moons’ edges align North-South. And on the Spring and Autumn equinoxes the sun will rise and set directly in line with the faces of the “moons”.
Although the coincidence of a full moon rising and setting on the equinox is rare, there will be the opportunity to witness this event with the sculpture in the foreground. The angle of moon-rise movement represented in the sculpture matches the angle of the celestial moon as it rises and sets on these dates. The other phases of the moon when it rises and sets on the equinoxes, as well as other full-moon rises and sets will still have a strong visual connection to this sculpture. So, once again, the earth-sky connection is manifest in a major landmark within the Galisteo Basin Preserve community.
"Two Hands"
This sculpture represents cooperation between two people or two nations and was part of a large sculpture symposium in Tongling City, China to which I was invited as the only representative of the United States.
From out of the ground rises what appears to be a rugged stone mountain.From the top of the mountain rises what appears to be a vertical tower of quarried and finished stone. Two hands, approximately 3-times life-size,project from either side of the stone tower and support a low, perfectly circular bowl that is gently tilted to one side. The bowl can pour water or it can collect sunlight (or both) and it represents the bounty that can be collected and shared by the two hands. All these elements of the sculpture are made of bronze.
A person viewing the sculpture from a distance will see the whole
composition including the inside of the bowl. When people approach the sculpture and stand beneath it, they will be looking up to the back(dorsal) sides of the hands and will see the bowl between the fingers. And if water is pouring from the bowl, they will be able to touch and walk next to (or through) the waterfall. There will be a catch-basin with drain to collect the water that falls to the ground and the water will be re-circulated to the bowl, above.
So, from the surface of the earth rises the mountain. And from the
mountain, people create with their hands the stone and bronze that is the tower and the bowl. And from this gift of the earth and work and cooperation between people, there is much to be shared and enjoyed.
"Welcome"
This fountain/sculpture is intended for a garden and/or pool area to welcome visitors. The 6x life-size hand is carved from a 4-ton marble boulder and is approximately 4-feet long from wrist to tip of finger. I modeled the hand on my wife, Sherry. Water runs from a small basin at the top of the boulder, down into and over the palm into a basin below. The hand offers water as a welcoming gesture.
"West Basin Preserve"
This is a deceptively simple sculpture. The central idea was to create a symbol of entry for a new development of five, large lots just West of Galisteo, NM, in a basin which overlooks the dramatic Ortiz mountains. The design involved not only the sculpture, but also the entry to the development which included roadway design, fence re-configuration, porphyry (cobblestone) road construction and rock-wall and flagstone landscaping. My client was Commonweal Conservancy, a land-preservation directed development company which evolved from the Trust for Public Land (see: www.commonwealconservancy.org).
At the top of the sculpture I carved an arc within an arc which symbolizes the small basin of the new neighborhood within the larger Galisteo Basin. At the point of turning off the main road into the new development, the "basins" at the top of the sculpture align with the center of three saddles or basins at the crest of the Ortiz mountains in the background. The sculpture also acts as a sundial and season marker. The shadow cast from the north-facing edge will align with stone markers in the ground to tell the hours of the day and also the major season points of the equinoxes and solstices. Oriented east and west, the broad, sloped light-colored flanks below the "basins" reflect, much like a movie screen, the incredible sky colors of sunrise and sunset.
The material for the sculpture is limestone from the Hillsboro quarry in Southwest Kansas. This stone was chosen for budget reasons and also because it's a very close match to the local sandstone which emerges below the volcanic ridges that frame the village of Galisteo. New Mexico Travertine, in Belen, NM, supplied the stone.
An approximately three-hundred foot wide, low, concave and curvilinear rock wall frames the entry to the site. At its outer edges, the wall connects to the existing ranch barbwire fencing by rough stone posts, which I drilled at their corners to receive the wire. Grade-level flagstone fills the concave sweeps of the wall. There is a porphyry stone "threshold" across the roadway as it passes through the rock wall. This granite cobblestone sparkles in the sun and in vehicles' headlights and also creates a rumbling sound when driven over, all of which signifies entry into the neighborhood. The sculpture stands to the left of the curving roadway from the entrance.
Design work for the sculpture and entry began in 2004. The sculpture was installed, thanks to the help of Lameroux Crane Service, on the site in the fall of 2005. The site and landscaping work was completed in the spring of 2006. The success of this project led to a number of other commissions with the same client.
CV
EDWARD FLEMING
SCULPTOR<>ARCHITECT
CV
CAREER:
2015 to present- partner, Thea Sculpture Studios
2014 to present- partner, Renaissance Stone Carving Studio
2001 to present- professional Sculptor
1993 to 2001- study stone sculpture
1994 to present - private Architectural practice
1985 to1994- partner, Architectnique
1983 to present- licensed Architect
1981 to2001 - Builder/Contractor
1977 to 1983- freelance design practice
SCULPTURE:
EXHIBITIONS
See attached file, list of exhibitions: 2000 to 2016
AWARDS
2009 Sternberg Award of Excellence, AMC, Evergreen, CO
2007 People's Choice Award and Brookgreen Medal, Brookgreen Gardens, National Sculpture Society 73rd Awards Exhibition
2006 Bronze Medal and Pietro and Alfrieda Montana Memorial Prize, National Sculpture Society 73rd Awards Exhibition
2005 Prize for sensitivity of expression, Viselaya National Sculpture Competition
Prize for communication of important conceptual theme,
Viselaya National Sculpture Exhibition
2003 Best sculpture in show, Corrales Visual Arts Council
2002 Second in show, Corrales Visual Arts Council
SELECTED COMMISSIONS
Kris Nylander/Alpine Gardens, Ft. Collins, CO: sculptural fountains
Dr. Lee Levin and Ginger Levin, Santa Fe, NM: seascape sculpture
Joyce Gibbons, Denver, CO: architectural sculpture
Dr. Vicki Berkus, Tucson, AZ: portraits
Turkey/Russia Friendship Monument, Cesme, Turkey: monumental sculpture
Ramona Scholder, Galisteo, NM: grave markers
Dr. Murt Byrne/Eldorado Animal Clinic, Santa Fe, NM: monumental entry sculpture
West Basin Preserve, Galisteo, NM: monumental entry sculpture
Ice Family, Monahans, TX: monumental cemetary sculpture
New Moon Overlook (two sculptures), Lamy, NM: monumental way-finders
Nancy Helle, Galisteo, NM: functional sculpture
Southern Crescent, Lamy, NM: monumental way-finder
Roger and Joanne Lameroux Santa Fe, NM: figurative sculpture
Trenza at the Galisteo Basin Preserve, Lamy, NM: entry monument
CT Whitehouse, Cedarburg, WI: portrait
Steven Grabiel, Cedar Grove, NM: monumental address sculpture
Matthew Robertson, AIA, Denver, CO: architectural sculpture
Raindrop Turkish House, Albuquerque, NM: business sign
SYMPOSIA
2015 May 27-August 15 - Greek Marble Initiative, Souroti, Greece
2014 May 27-July 27 - Greek Marble Initiative, Souroti, Greece
2013 May 13- June 14- Heykel Kolonisi 3, Denizli, Turkey
August 26 - September 28- Greek Marble Initiative, Souroti, Greece
November 11- December 5- Ege University Sculpture Workshop Izmir, Turkey
December 6-15 - EgeArt Days, Izmir, Turkey
2012 May 1-31- Heykel Kolonisi 2, Denizli, Turkey
October 30-November 5 - 2nd China Sculpture Symposium, Tongling City, China
2011 June/July- Heykel Kolonisi 1, Denizli, Turkey
2010 June/July- Pamukkale University First Art Colony, Denizli, Turkey
TEACHING
See attached list of teaching experience, 2007 to 2016
GALLERY REPRESENTATION:
Carol Robinson Gallery, New Orleans, LA
Columbine Gallery, Loveland, CO
Gallery Myro, Thessaloniki, Greece
Art Parks, UK, Chanell Islands, United Kingdom
EDUCATION
1998 to present- Life drawing at different studios, Santa Fe, NM
1998- Santa Fe Art Institute: anatomy
1994 to1995- Pietrasanta Marble Carving Studio, Pietrasanta, Italy: sculpture
1994- Doug Hyde studio, Santa Fe, NM: stone carving apprentice
1993 to1994- Corcoran School of Art, Washington, DC: stone sculpture
1993- Pietrasanta Marble Carving Studio, Pietrasanta, Italy: sculpture
1976 to1981- Tulane University, New Orleans, LA: B.Architecture degree
1974 to1976- Occidental College, Los Angeles: sculpture, architecture history
PROFESSIONAL ASSOCIATIONS
National Sculpture Society: USA
National Sculptors' Guild: USA
New Mexico Sculptors' Guild: USA
Galisteo Art Association: USA
Southwest Stone Carving Association (Board Member): USA
Aegean Stone Sculpture Academy (Founding Member): Turkey International Sculpture Symposium Alliance (ISSA; Founding Member): China Greek Marble Initiative, Associate Artist: Greece
Rocky Mountain Design Collective: USA
ARCHITECTURE:
PROFESSIONAL EXPERIENCE
2001 to present- Architectural design service in Santa Fe, New Mexico and Boulder, Colorado. Work has included historic residential restoration, new residences, residential renovations and additions, site planning and green-cemetery planning, general contracting and hands-on construction.
1996 to 2001- Principal of Edward Fleming and Associates, Santa Fe, New Mexico. Work included large and small residential projects construction.
1995- Architectural consultation and hands-on construction and continued stone sculpture study in Pietrasanta, Italy.
1994 to 1995- Sabbatical. Studied stone carving/sculpture in New Mexico
1993 to 1994- Principal of Edward Fleming and Associates, Washington, DC. Work included large new residential, mercantile and institutional projects and research and design for affordable building systems in developing countries.
1985 to 1993- Partner/Principal of Architectnique, Washington, DC. Work included large new residential, religious, commercial, mercantile, museum/gallery and small residential projects, general contracting and hands-on construction.
1977 to 1983- Freelance architectural design (while in school and working for other firms) which included large and small residential, hotel and restaurant projects and hands-on construction.
PROJECTS
(List upon request: 1983 to present)
EDUCATION
1976 to 1981- Bachelor of Architecture, Tulane University, New Orleans, LA
1974 to 1976- Liberal Arts Education: major in English, minor in Architectural
History, Occidental College, Los Angeles, CA
APPRENTICESHIP
1981 to 1983- Bryant and Bryant, Washington, DC
1979 to 1981- Architects South, New Orleans, LA
1979- Folse-Henningson, Durham, Richardson, New Orleans, LA
1977 to 1979 Nolan, Holcomb, Apatini and Seghers, New Orleans, LA
1976- Robert Murphy, Washington, DC
Work experience with these firms spanned from drafting/drawing production to project-architect responsibilities and design for residential, commercial, mercantile, educational, correctional and industrial projects.
LICENSES
current: State of Louisiana; State of Virginia
previous: District of Columbia; State of Maryland; State of New Mexico
List of Exhibitions:
2016: June - September- La Sala Gallery, Galisteo, NM
August- Columbine Gallery, Loveland, CO
2015: February- Tucson Gem and Mineral Show, Tucson, AZ March- Tucson Jewish Community Center Exhibition, Tucson, AZ August- Columbine Gallery, Loveland, CO October Galisteo Studio Tour, Galisteo, NM 2014: January- City of Denizli, Turkey
January- Gallery Myro, Thessaloniki, Greece
Octobe-r Tucson Jewish Community Center Exhibition, Tucson, AZ
Octobe-r Galisteo Studio Tour, Galisteo, NM 2013: June- Heykel Kolonisi, Denizli, Turkey
Augus-t Columbine Gallery, Loveland, CO
September- Greek Marble Initiative, Souroti, Greece
October- Tucson Jewish Community Center Exhibition, Tucson, AZ
December- Ege University, Izmir, Turkey
2012: June- Heykel Kolonisi, Denizli, Turkey
July- Portrait Show, Steven Boone Gallery, Santa Fe, NM
August- Columbine Gallery, Loveland, CO
Octobe-r Tucson Jewish Community Center Sculpture Exhibition, Tucson, AZ
November- 2nd China (Tongling) International Sculpture Exhibition, Tongling City, China
2011: May- Open Hands Auction, Zane Bennett Gallery, Santa Fe, NM
July- Heykel Kolonisi, Denizli, Turkey
August- Columbine Gallery, Loveland, CO
September- Tucson Jewish Community Center Sculpture Garden, Tucson, AZ
October- Galisteo Studio Tour, Galisteo, NM.
2010: April- Sculptor's Dominion, San Antonio, TX
Augus-t National Sculpture Society awards exhibition, Brookgreen Gardens, SC
Columbine Gallery, Loveland, CO
Septembe-r Pamukkale University, Denizli, Turkey
La Sala Gallery, Galisteo, NM
October- Sculpture at the RiverMarket, Little Rock, AR
November- Tucson Jewish Community Center Exhibition, Tucson, AZ
2009: May- Carol Robinson Gallery, New Orleans, LA
June- Evergreen Sculpture Walk, Evergreen, CO
October- Sculpture at the Rivermarket, Little Rock, Arkansas
November- Tucson Jewish Community Center Inaugural Sculpture Exhibition, Tucson, AZ
2008: March- Adams State College Exhibition, Alamosa, CO
June- Evergreen Sculpture Walk, Evergreen, CO
October- Sculpture at the Rivermarket, Little Rock, Arkansas.
2007: January- National Sculpture Society awards exhibition, Brookgreen Gardens, SC
June- Evergreen Sculpture Walk, Evergreen, CO
June- Hudson Valley Art Association Annual Exhibition, New York, NY
June- New Mexico Sculptor's Guild Annual Exhibition, Santa Fe, NM
October- Sculpture at the RiverMarket, Little Rock, Arkansas.
2006: September- National Sculpture Society awards exhibition, Quick Center for the Arts,Fairfield, CN
October- Galisteo Studio Tour, Galisteo, NM.
2005: June- Evergreen Sculpture Walk, Evergreen, CO
June Carol- Robinson Gallery 25th anniversary exhibition, New Orleans, LA
September- Viselaya National Sculpture Competition, Concord, MA
August- Justin Roberts Galleries, Santa Fe, NM (solo exhibition)
October- Galisteo Studio Tour, Galisteo, NM
October- Carol Robinson Gallery virtual show
November- Justin Robert Galleries second anniversary exhibition, Santa Fe, NM
2004: April- Sculptor's Dominion Invitational Show, San Antonio, TX
May- Hammer, Chisel and Stone Gallery, Morro Bay, CA
August- Sculpture in the Park, Loveland, CO
September- National Sculpture Society awards exhibition, New York, NY
October- Galisteo Studio Tour, Galisteo, NM
2003: August- Sculpture in the Park, Loveland, CO
September- Viselaya National Sculpture Competition, Concord, MA
September- Hammer, Chisel and Stone Gallery, Morro Bay, CA
September- Galisteo Fiesta Art Show
2002: May- Wilds Gallery, Hikawagun Shimaneken, Japan
October- Corrales Visual Arts Council 14th annual fine arts exhibition.
2000: August- Gallery 944, Santa Fe, NM
List of Teaching experience:
2016: 2Sculpt stone carving workshop, Lawrence, Kansas
7th annual Galisteo Stone Sculpture Workshop, Galisteo, NM
2015: 2Sculpt stone carving workshop, Lawrence, Kansas
6th annual Galisteo Stone Sculpture Workshop, Galisteo, NM 2014: 2Sculpt stone carving workshop, Lawrence, Kansas
5th annual Galisteo Stone Sculpture Workshop, Galisteo,NM Individual student instruction, Greek Marble Initiative, Souroti, Greece 2013: Aegean Stone Sculpture Academy, Denizli, Turkey (2) Workshops 4th annual Galisteo Stone Sculpture Workshop, Galisteo, NM
2012: Aegean Stone Sculpture Academy, Denizli, Turkey, Marble Sculpture Workshop
Southwest Stone Carving Association workshop, Hobbs, NM
3rd annual Galisteo Stone Sculpture Workshop, Galisteo, NM
Organizer/Instructor Private instruction at Edward Fleming studio, Galisteo, NM
2011: 2nd annual Galisteo Stone Sculpture Workshop, Galisteo, NM
Private instruction at Edward Fleming studio, Galisteo, NM
Poeh Arts Center, Pojoaque Pueblo, NM, Figurative carving workshop,
Southwest Stone Carving Association workshop, Hobbs, NM
2010: Galisteo Stone Sculpture Workshop: Organizer/Instructor
Private instruction at Edward Fleming studio, Galisteo, NM
2009: Portrait carving workshops, Instutute of American Indian Arts, Santa Fe, NM
Portrait carving workshops, Poeh Arts Center, Pojoaque Pueblo, NM(April and June)
2008: Mentoring student in stone carving Monte del sol Charter School, Santa Fe, NM
Mentoring student in stone carving,Poeh Arts Center, Pojoaque Pueblo, NM
Portrait carving workshop,Southwest Stone Carving Symposium, Jemez Springs, NM: Instructor
2007: Guest Artist Instructor, Southwest Stone Carving Symposium, Jemez Springs, NM
Bio
Edward Fleming, Biography
For almost 40 years, as a Sculptor, Architect and Builder, I’ve been making three-dimensional art: both fine-art and buildings. My goal as an Architect has always been to design buildings as sculpture to live in. And I create sculpture in marble, stone and bronze, telling contemporary stories through classical technique. I strive to create sculpture that challenges a viewer's concept of reality, encouraging him/her to develop a conscious connection to life on this planet.
During my career, beginning in 1993, I gradually moved from practicing Architecture full-time to becoming a professional sculptor. My Art education derives from over 20 years of working and apprenticing with master carvers and other artists in the United States, Europe and Asia. I have been making sculpture full-time since 2001, teaching sculpture since 2007 and continue to practice Architecture in the United States, Europe and Turkey.
I find my source of energy and inspiration by designing buildings and making sculpture that is site/person/story-specific. In sculpture, realistic figurative work is my main interest although I also carve abstract and celestially based sculpture. My intention is to continuously learn and grow towards becoming an Artist at the level of Bernini, Rodin, Zuniga and Finotti. I have made a deep and on-going study of human anatomy and life-drawing which are the foundations for both my figurative and abstract work. It is deeply satisfying for me to think that I can study the human form for the rest of my life and always have more to learn.
I employ my professional experience as an Architect to large scale and public art. This has proven to be both unique and useful in working with clients as well as other professionals. I maintain the same high level of professional practice in my Sculpture that do in Architecture. And as my experience and success in both disciplines show, I have a deep respect for collaboration and believe this is often how the strongest projects are created.
Artist Statement
Edward Fleming
Artist Statement
In 1930, Edith Hamilton wrote this about Classical Greece: "For a brief period.....the rational that was to distinguish the West, and the deep spiritual inheritance of the East, were united. The full effect of this meeting, the immense stimulus to creative activity given when clarity of mind is added to spiritual power...." and "In the Italian Renaissance a great artistic development coincided with a great intellectual awakening and the art that resulted is in its essence more like that of Greece than any other..." I am blessed to be a part of this continuum.
The human form fascinates me. It is holographic in that the smallest part contains the limitless beauty of the whole that, in turn, holds the wonder of the Universe. I see the emotional and physical energy within a person on the same spectrum of energy that keeps our planet circling the sun. In my work I represent this idea both classically, with fine attention to anatomy and detail, as well as abstracted, focusing often on the earth-sky relationship.
Human stories are equally compelling to me which is why most of my sculpture has a contemporary narrative with the stories ranging from personal to societal. With every sculpture I make, I'm trying to challenge viewers to feel and to think. I see sculpture not as decoration but as dialog that may be simple and direct or subtle, taking years to unfold.
I carve marble and stone directly, in the same manner as Renaissance artists but with better tools. This allows me a physical, spiritual and intellectual connection to the material that is both obvious and numinous. In terms of real art, I believe there is no replacement for the human hand and in turn, the heart, mind and spirit that are connected to and pass through the artist's material.