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2020

COLORADO DAILY

Opening their doors and selves

October, 2003 –  Laura Wesley,  COLORADO DAILY

“I’ve been on a journey,” says stone sculptor Brian Grossman at his carving station in the warehouse studio he shares with three other artists.

We’re busy cruising the second weekend of Open Studios, a Boulder-based art-awareness event in which, this year, 135 Boulder artists open their private creative dens to the general public.

Surrounded by tools and breathtakingly beautiful stone sculptures, Grossman tells the story of his life and art. They are inextricably entwined. He explains how creative art helped him overcome haunting childhood memories of severe physical and sexual abuse and stay motivated despite the physical limitations of multiple sclerosis.

“For years I hid in my artwork but it also kept me alive,” says Grossman. “Literally, being creative is the reason I am still here today.”

Getting to know not only Grossman’s art but also his personal story is the beauty of Open Studios’ interactive nature. The event is committed to providing people with an intimate glimpse of artists’ individual techniques and unique personalities. The Open Studios weekends, traditionally held in early October, offer a learning experience that is “friendly and accommodating,” according to founder and executive director Gary Zeff.

“The idea is to see the art where it’s made and meet the artist, which you can’t always do in a gallery,” says Zeff. “It’s an unusual opportunity for both the artists and the public.”

Its popularity has grown each year. Zeff reports that Open Studios recorded a total of more than 67,000 visits last year, and he expects the upward trend to continue in this, its ninth year. The event has grown tremendously since 1994, when only 84 artists participated and had fewer than 10,000 studio visits.

“It’s fascinating to see how they choose to be artistic – there’s no two alike,” said Boulder resident Maggie Luck in Zeff’s home basement woodturning shop. “Last weekend, some of the artists we met, I realized, ‘Hey, your kids are in school with my kids.’ So they’re just parents in the community as well and now I see this is what they do.”

The interface between artists and community is wonderful, but the true mission of this non-profit organization is really art education. Each artist pays a small fee that, along with corporate and government grants, makes the event possible. Another stipulation is that artists must include an educational and, if possible, hands-on component in their studio so that visitors can learn directly about art. Zeff, inspired by the example of several California communities, is proud of Open Studios’ success in Boulder. He also mentioned that, while other communities like Longmont, Fort Collins, Lakewood, and more have organized similar weekends, Boulder’s is still the biggest and best.

Painter Dawn Howkinson Siebel describes Open Studios as a vehicle that “makes visible what is invisible.” In years prior to being a participating artist, Siebel visited many studios, often taking her friends’ children with her.

“When I was a kid I never saw a single role model of a working visual artist,” said Siebel. “It’s very important.”

Open Studios offers quite a diversity of educational opportunities that are mutually beneficial to both artists and the public. Stone sculptor Scott Rodwin offered sandpaper to visitors, and they helped work on his current piece of Colorado alabaster.

“If seeing this makes people want to pull out their old potting wheel or pick up that paint brush, it’s worth it,” said Rodwin. “Even if I don’t sell anything, I still consider this a successful weekend.”

There is a downside – it simply is not possible to see everything in one or two weekends, which was the only complaint of most visitors. Having so many choices is a bit overwhelming; there’s glassblowing, ceramics, woodwork, painting, jewelry, and more.

The key to a satisfying tour is to prepare, so here’s what to remember for next year. Visit the exhibit in the Boulder Public Library; it’s up several weeks ahead of time and each artist has one piece displayed. You can pick your favorites and plan your tour route. The event is free, so go to as many studios on as many days as you like.

Also, if you’re looking to purchase some fine art, take the chance to familiarize yourself with an artist and their work. Art galleries take about 50 percent of each sale, so prices are often marked up to compensate. You may be able to take advantage of special Open Studios sales some artists offer. Purchasing directly from an artist on one of these weekends is sure to be a much more enjoyable and affordable experience.

All in all, Open Studios has something for everyone. So, put it on your calendar for next fall and check it out.

You can read the online version of this article at:

http://www.coloradodaily.com/articles/2003/10/13/news/arts/arts05.txt

Colorado Modern

February, 2004 – Wendy L. Pitton R., COLORADO MODERN

A burning passion for art

As most of us are growing up, we rarely think through our whole life knowing exactly what we are going to become. We don’t think about how the past may affect our future. Brian Grossman was no different. Growing up in Boulder, Colorado, he didn’t have his life planned out. Life just started coming to him–or at him.

Grossman left high school to join the Coast Guard Search and Rescue in order to escape an “oil and water” relationship with his father. After a four-year tour he returned to Boulder and enrolled at the University of Colorado. “I was a very athletic person.” Grossman admits, “I was into power lifting and competition, but I also considered being a graphic artist. When I was on the ship I had started doing that. At the time the University did not offer any courses so I took Basic Drawing, Basic Painting and Basic Sculpture. I took sculpture mostly because I had no idea what it was all about. My only memory of art was in junior high with a teacher by the name of Mrs. Sands. I do remember I enjoyed it.”

The sculpting class awakened Grossman’s spirit and changed his future. “We were working on a ‘Seated Nude’ sculpting it in wax. I like it, but I was always changing it. I cut the image in half and fiddled around with it more, and then “Eureka!” “That was when I made a conscious decision to be an artist.” He went to his teacher and asked how to make the piece in mahogany. “He didn’t tell me how, he just told me where to go to get everything I needed to create my first piece.” With this beginning, Grossman began to create 10-foot sculptures using chain saws. He was invited to show with the graduate group even though he only an undergraduate

Grossman was still very athletic at this time. “My involvement in athletic activities was fueled by this underlying rage I had. I dropped out of power lifting after going to a competition and realizing the other athletes were either on uppers, downers or taking steroids. Drugs were not what I was about. In the beginning my ego needed to be satisfied. All I knew in my life, mentally, was that I had to be the best at everything I do so people would like me.”

In early 1979 Grossman left the power-lifting world and took up bicycle racing. At the same time he was still creating massive works of art. “Everything invigorates me to learn.” Grossman added. He graduated from college in 1979 and until 1983 Grossman felt as though “something was not clicking.” The high pace of bicycle racing combined with street fairs to promote his art kept him traveling all over the United States. At a fair in 1980, Grossman found out about alabaster. “A total stranger came up to me, impressed with my wood sculpture. He asked me if I’d ever worked with alabaster. I said, “Alabaster who?” The next day the man brought Grossman a small piece. “I only had a claw hammer and coal chisel for sculpting wood, but I attempted to sculpt anyway. I soon purchased the correct tools and said to myself “That’s it, no more wood.”

In 1981 Grossman met a friend from college who had a small foundry. He was given the opportunity to work his way up through the foundry. He learned about working with the wax, the metal chasing, welding, and mold making. This experience gave him the knowledge to start working in bronze. Meanwhile, he was not just “burning the candle at both ends,” he was burning it up.

Grossman’s schedule was relentless. Traveling to artistic street fairs, working at the foundry, bicycle racing by day, creating art by night; it was all about to take a toll. That happened in 1983. While taking the trash out, he suddenly noticed he was lying on the ground. “I thought to myself, what just happened?” By 1984 he was very weak. “The doctors told me that they were 99% sure I had Multiple Sclerosis.” In order to be 100% sure the doctors wanted to do a spinal tap. I said, “No way.”

Grossman got into his 1970 Ford Fairlane, drove about a block and began asking the question “Why me?” I had this deep-seeded anger inside of me. In the beginning I tried to use this anger to beat the disease. I was still keeping a pace that was not normal. I was driven by my anger, realizing this anger had been with me my whole life.” Grossman literally used his artwork as a hiding place. It became both his nemesis and inspiration. He began teaching art classes and started looking into holistic remedies for his disease. Unfortunately, he still had the anger inside.

Grossman stopped bicycle racing, but he continued to burn the candle at both ends. He was still going cross-country for street fairs, creating 30 new pieces per fair. The praise he received kept him motivated, but in 1985 he was running out of income. Grossman lived with friends for 8 months, and he spent a year and a half living out of his truck while doing the art fair circuit. He finally ended up spending four years in a 6′ x 10′ trailer. At this point his health began to deteriorate. Finally, his search began to find balance and meaning in his life. He still needed to calm his anger. “I began a spiritual path. I went to medicine men trying to find out what’s been making me tick.” Grossman also started carving “like a mad man.” He moved out of the trailer and into the warehouse that is still his studio today.

During this time of new inspiration, Grossman began to experience nightmares and fear. By 1996 the nightmares had grown in intensity and Grossman had to seek professional help. In 1999 Grossman learned he had “Post Traumatic Stress Syndrome.” His therapy included Eye Movement Desensitization and Reprocessing (EMDR). The therapy integrated elements of effective psychotherapies in structured protocols that were designed to maximize treatment effects. This helped the individual of a traumatic event to take the information and process it through therapy. The treatment had eight phases.

“This is the reason I carve, Grossman said. I could not remember the first twelve years of my life. Through this therapy I was able to assimilate the information of my nightmares along with the information of my childhood. I experienced things in my youth; beatings, rape, and abuse. Suddenly I was able to understand the rage I had felt my whole life. With love there was pain and with joy there was fear. It is important for me to share this, for people to know my background because this is what it takes to create my art.” Grossman added, “I am totally amazed each time I create a sculpture that I am the one who created it, and that I am still alive.” Early works were very reserved and closed off. That was a reflection of his psyche and soul. After thirty years, they are now very open and complex. If you look at one of Grossman’s sculptures, allow your mind and eyes to go out of focus: there is a dynamic relationship of form and space.

“There are three people in my life that I have been inspired by; Vincent Van Gogh for his passion. He painted like I carve. The second is Bill Porter, an insurance salesman from Portland, Oregon who has Cerebral Palsy. Because of his perseverance and personality he became top salesman; and myself, not because I need the ego boost. I try to leave my ego out of my work. It’s because every time I do a sculpture, it was I who did it.” Grossman adds, “Creativity is such a gas, it’s pleasure in 3D.”

Grossman began walking with a cane five years ago as his disease slowly takes over his body. This does not stop him from reeducating the parts of his childhood that were never allowed. He also continues creating works. “I don’t take criticism about my art personally like I did early on. I strive with all my heart to speak of self and creativity with pride and no ego. We do need beauty in our life, and some people haven’t grasped that. I create objects that are meant to inspire you.”

In closing, I asked Brian Grossman if there any survival tricks or words of wisdom he would like to share. Grossman proceeded, “Survival tricks, ah. First thing, never give up the truth, truth for yourself. Second, be honest with your emotions. When you’re happy, be happy. When you’re sad, be said. Then get on with life. Third, always ask questions. Be a kid. Always learn from everyone, even the ones you hate. Fourth, don’t take things personally. Leave your ego out of it. Fifth, never take your body for granted. Sixth, never give up. That’s a bit cliché.” He also added what he called the four P’s: “Passion, Persistence, Perseverance and Patience. This has been my motto throughout life without really knowing it. I’ve always had a passion for learning. How can I do things better? I don’t know where it comes from.”

Brian Grossman is a man who leaves his opinion out of his art. Instead, he includes a passion that burns in his soul, and that becomes an inspiration to us all.

Sculptural Pursuit

Winter, 2004 – Diana Dietvorst, SCULPTURAL PURSUIT

BRIAN GROSSMAN

Brian Grossman’s stone sculptures appear to defy logic. It is hard for the view to believe that alabaster can be carved so intricately and so thinly. In his artist statement, it is expressed that he “views his disease as a ‘gift’ that has opened up new pathways for his art. Each piece Grossman sculpts is a revelation to him, encompassing and expressing the passions of the soul’s journey.” Grossman’s bronze and alabaster sculptures have been exhibited in Colorado, North Dakota, South Dakota, Minneapolis, Boston, and San Francisco, and he has participated in Loveland, Colorado’s Sculpture in the Park and the Governor’s Invitational. In addition to his works in stone and bronze, Grossman also designs jewelry fashioned after his artwork. You can view Grossman’s work at www.briangrossman.com.

I was exhibiting wood sculptures at a Boulder street fair in 1981 when a passerby told me he carved alabaster. He explained where to get it, and the next day gave me a small, pound or two, size chunk. The next I used a claw hammer and a cold chisel on it, and I decided to go to Colorado alabaster in Fort Collins and get some more. I also got my first stone hand tools. From then on I was a stone carver.

In my adolescence and young adulthood, I was very athletic and was a competitive power lifter and top ranked bicyclist. I was used to doing pretty much what I wanted physically. Between 1974 and 1984, I was very active. I worked at a bronze casting factory, as a bicycle mechanic, and did a couple of street fairs across the country during the summer. My typical day started at 5:30 a.m. with a two to three hour training ride, working at the foundry, then my own carving until dinner and bed; I burned up the candle. From 1981-1984, I was carving 100 to 200 pound pieces of stone; all were massive with a small hole in them. I used a wide variety of tools for stone, steel, and bronze.

In 1983, my legs began having periods of weakness. Finally, in 1984, I went to the doctor and was diagnosed with multiple sclerosis. With the diagnosis came complete confusion. No longer was I able to do the larger works or the spontaneous acts of cycling or walking i.e. life.

I went into creative survival mode. I used my carving to hide. I used it as my inspiration to keep going. While carving, I worked out my rage, my depressions, my confusion, always believing that things would get better. The last twenty years have been spent uncovering hundreds of layers of comprehensions about myself. Every new attempt in carving led to new levels of personal comprehension and vice versa. All I knew, all I was, was creating art and recreating myself. My inspiration was to stay alive. I was my inspiration.

During the years from 1984 to 2000, I had many challenges. I had episodes of my right eye being nearly blind; I suffered loss of bladder and bowel control; and I lost the ability to eat anything except rice and chicken. I battled severe depression. To make matters worse, I was in the midst of a financial crisis. Consequently, I lived in my truck for one and a half years; in a 6’x10′ trailer with no running water and minimal heat for five and a half years; and finally in a warehouse for ten years. I lived minimally, but I always carved; it was my distraction from my personal hardships. In 2001, I finally had enough money to buy good food, medicine, and health insurance. I had been in the Coast Guard for four years as a young man and had been exposed to lead; after almost two years of battling with Veterans Administration, they gave me a medical pension.

During all these years, the only constant was carving stone. It was all I knew. When I carve stone, there is a synergistic energy level of cooperation between the stone and me. I start by drilling a hole through the biggest, meatiest part of the stone. Then I look for indentations and start accenting what’s already in the stone. If nothing interests me, I’ll cut a groove. Then I just look at it and start feeling it; it’s hard to describe, it is a tactile experience that goes beyond touching. To steal a phrase, my motto is “be the stone.” As I sculpt, I keep moving around the stone. At every step, I look at the individual parts of the stone in relation to the whole. I progress through a myriad of tiny little stpes that are, to me, completely logical and believable. When I look at abstract artwork, the key thing for me is, “Do I believe it?” “Does each part work with the whole?”

When people look at my work, they see the form first. If they sit and look at the sculpture and allow their eyes and brains to go out of focus, they see that the whole dynamic relationship of space and form changes if they move their perspective a mere sixteenth of an inch. The powerful thing about my work is the space. I am very kinesthetic. In the early years, I worred that someone would steal my designs. Now I realize that all art has been done before; I am simply putting space and form together in the way I like it.

My illness affects the way I carve. As my legs became stiffer, I worked smaller and the finished pieces became lighter and more intricate. My leg and hip muscles are very spastic. The best explanation is that the muscles work too much. The natural contraction and relaxation movements are on overdrive so the muscles lock up. To walk I use two canes, but only for short distances. I have to stay focused on each step. Consequently, everything I need to carve is within one or two steps. Occasionally I will forget and make a quick movement with my upper body to reach for something. Unfortunately, my legs are not able to follow at the same pace, and is when I fall. When I carve, I keep two hands on the piece. One uses the tool and the other provides balance. I usually carve in the morning when I am freshest, and do errands or finish sanding in the afternoon.

My primary power tools are a drill, Makita five-inch disc sander, and a Foredom. These allow me to quickly get the shape about two-thirds done. Al the final shaping, definition, and edges are done by hand with stone rasps and sandpaper.

In the early years when I was aggressive and mentally rigid, my work was massive. As I became less and less mentally rigid, my work also became more intricate and flowing. I was my inspiration; I was and am my carvings. Everything is better.

PR.com

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Sculptor’s Perseverance Nets National Honors

National VA Prize and MS Foundation Recognition for Grossman in 2014. The VA’s First Place in the category of sculpture is to be presented to Colorado artist Brian Grossman. This recognition from the VA comes only months two of Grossman’s sculptures were chosen as trophies for the 2013 and 2014 recipients of the MS Foundation’s prestigious “Barancik Prize.” The Barancik Prize is a grant awarded each year for innovative research in the cure and treatment of multiple sclerosis.

Denver, CO, August 22, 2014 –(PR.com)– This month the Department of Veterans Affairs and the American Legion Auxiliary concluded its final selection of winners for The National Veterans Creative Arts Festival (NVCAF). First Place in the category of sculpture is to be presented to Colorado artist Brian Grossman. The program is a national celebration of the talent competitions in art, creative writing, dance, drama and music for Veterans treated in the Department of Veterans Affairs (VA) national health care system.

Sculptor Brian Grossman is a renowned artisan who, although afflicted with multiple sclerosis, has triumphed in both stone carving and bronze sculpting. This award is the culmination of a year-long jury process by the Department of Veteran Affairs. The National Veterans Creative Arts Festival will be held October 27 through November 2, 2014 in Milwaukee Wisconsin.

The VA medical facilities incorporate creative arts into their therapy programs to further rehabilitation for both inpatients and outpatients. The story of Grossman’s perseverance showcases his success in the face of monumental obstacles. After serving four years with the US Coast Guard, Brian returned to Boulder to attend college. After completing his degree in art, he was diagnosed with MS. In spite of this progressively handicapping disease, Brian works in one of the most physically demanding mediums. The creative process is anything but gentle as he crafts in the unyielding materials of alabaster, marble and bronze. Yet, his abstract works speak to an inner beauty while their creation is paramount to his own therapy and serve as an inspiration to others.

This recognition from the VA comes only months two of Grossman’s sculptures were chosen as trophies for the 2013 and 2014 recipients of the MS Foundation’s prestigious “Barancik Prize.” The Barancik Prize is a grant awarded each year for innovative research in the cure and treatment of multiple sclerosis. “We believe in the power and influence that one creative and driven individual can have on the course of future events in creating a world free of MS,” says Charles Barancik.

Trilogy, the bronze sculpture which wins the VA Prize this year, was itself inspirational to the artist. As Grossman states, “This specific bronze sculpture is best understood through the words which came to me while I was carving the stone original: The mechanism for learning is living. The mechanism for living is learning. Simply put, I am alive because of life’s creative needs, not only sculpting, but living outside the box.”

For more information on Brian Grossman, visit: BGSartworks.com or call Peter Trimarco 303.910.1884

MMG – Beyond Cinema are supporters of the MS Foundation and Bike MS, through their 2014 Sundance Media Studio and manage the relationship between artist Brian Grossman and the MS Foundation’s 2013 and 2014 Barancik Award.
Contact Information:
MMG Peter Trimarco 303-910-1884 Contact via Email beyondcinemamag.com

You can view the online version of this press release at:

http://www.pr.com/press-release/577342

BWW Art World

Sculptor Brian Grossman Receives National Honors

August 22 6:13 2014

by Visual Arts News Desk

250xNxicon-artnews.jpg.pagespeed.ic.W2ED1oeJPK This month the Department of Veterans Affairs and the American Legion Auxiliary concluded its final selection of winners for The National Veterans Creative Arts Festival (NVCAF). First Place in the category of sculpture is to be presented to Colorado artist Brian Grossman. The program is a national celebration of the talent competitions in art, creative writing, dance, drama and music for Veterans treated in the Department of Veterans Affairs (VA) national health care system.

For more information on Brian Grossman, visit: BGSartworks.com or call Peter Trimarco 303.910.1884

You can view the online version of this article at:

http://www.broadwayworld.com/bwwart/article/Sculptor-Brian-Grossman-Receives-National-Honors-20140822

PRESS

PBS

Opening their doors and selves

A burning passion for art

BRIAN GROSSMAN

Sculptor’s Perseverance Nets National Honors

Sculptor Brian Grossman Receives National Honors

ALABASTER

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LAMINATED ALABASTER

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