by David Secrest
On loan from the
Born in 1953 in Rochester, New York, David Secrest sold
his first sculptural work while in high school. Over thirty years of
constant experimentation and material manipulation had yielded an
impressive collection of sculptural works from a diverse repertoire of
materials including steel, iron, wrought iron,, and sand-cast bronze.
Surfaces are characterized by tessellated tile and pattern-welded
techniques. While many of the works produced for exhibitions and
commissions have been in metal, the artist's interest, practice, and
technical abilities reach into various media and applications, including
those found in woodworking and printmaking.
Continually experimenting with the refinement and manipulation of the
structure of metal, Secrest actively produces sculpture for galleries
and clients both regionally and across the nation. Works may be found
presently at Gail Severn Gallery in Ketchum, Idaho. Most of his works
reside in private collections, while several earlier works may be found
in the art collection of the University of Montana in Missoula.
David Secrest has maintained a permanent and full-time metal sculpture
studio since 1978 in Somers, Montana.
I have grown to understand my work as having been a path from
intrigue to intimacy with the material and tools that I use. From this
has grown the understanding of form as it relates to structure -- and
texture as it relates to the perception of form.
My intimacy with and growing mastery of metalworking gives me a
foundation from which I can explore techniques and processes that have
not yet been explored or utilized in the field of creative arts.
The richness of my relationship toward most any work of art has as much
to do with the maker and the making as it does with any physical
aesthetic or functional concerns. Natural objects provide the basis for
my sense of design; however, it is the conceptualization of structure
and and the intentional manipulation of of materials that holds my
interest. If I were to name a mentor, it would be the material itself,
its history, structure, and working characteristics.
The finished work functions as a vehicle for a process that, at times
feels like an indulgence. I find myself intentionally slowing the
process down to savor some obscure moment. It could be as
inconsequential as the way the tools have arranged themselves, or the
eloquent execution of a solution to a difficult problem.
My intention is to keep questions open.
Quiver as displayed during the
George Gogas exhibit 2008
Quiver, looking along the north gallery windows to the west.
Quiver as displayed during the 20 Artists/3 Days show 2008