2014 Schoodic International Sculpture Symposium
Yearly Symposium Takes Artists To Inspiring Places
Peter J. Marcucci
Special Contributor
Photos by Peter J. Marcucci
Seven distinct peals of a clear, loud bell rang out. It was early morning in Millbridge, Maine, a small fishing village near the Prospect Harbor, Maine.
If the multicolored sky and soaring birds didn’t delight your senses, the sights and sounds of dusty artists wielding electric and pneumatic tools, would. It was a perfect day for a sculpture symposium. Soon I would be trading my motel for the symphony of hammers striking chisels—music to the ears of any stone sculpture aficionado. It was great to be back...
“Welcome to the Schoodic International Sculpture Symposium!” someone said, as I entered the reception tent.
“Thank you,” I replied.
“Would you like a brochure?” another asked.
“Yes, please!” I replied. I then politely excused myself and exited toward the spectators and artists.
So what happens when seven world-class artists have just six weeks to create large-scale works of art on a grand scale? Why, you get a dynamic blend of high energy and productivity in a seemingly chaotic, yet collective and constructive atmosphere, of course! And did I mention this diverse group of artists includes men and women from Europe, Asia, and America?
The Origin And The Legacy
Originating in Austria, the first symposium took place in an abandoned marble quarry in 1959. Noting great success by its founders, the symposium continued throughout Europe and Asia giving its artists the opportunity to gain new skills and techniques, as well as experiencing the customs and cultures of that year’s hosting country.
In its present biennial form, the first and second Schoodic International Sculpture Symposiums (SISS) were held in Maine’s Acadia National Park in 2007 and 2009. The format the symposium was to take over the next seven years was just a glimmer in the eye of its creator, artist Jesse Salisbury. Both events, by all standards, were a smashing success.
By 2011, still capably led by Art Director, Jesse Salisbury, SISS was moved to Prospect Harbor, Maine, a town located on the Schoodic Peninsula. In 2012, as it evolved into a fourth format and was additionally led by Executive Managing Director, Ms. Tilan Copson, SISS was moved to the University of Maine, Orono.
Today, in its fifth and final stage, the 2014 Schoodic International Sculpture Symposium returned to Prospect Harbor, Maine to conclude its ten year mission.
“We named it the Schoodic International Sculpture Symposium because originally we were working in this area. This is where our ten year vision began,” explained Artistic Director, Jesse Salisbury.
“The first two symposiums were held at the Schoodic Education and Research Center located in Acadia National Park, when it was first given to the park. The center was then renovated a few years ago, and the area we had used was grassed over and planted with trees, so it wasn’t available anymore. That’s when we moved here to Prospect Harbor.
“As for this year’s symposium, it’s going great. They are always different, but I think our mix of artists this time is wonderful. It’s real positive, and everyone is working together well. There are seven artist and seven communities as sponsors, which brings us to a total of thirty-four large-scale sculptures to complete our Maine sculpture trail.”
The total cost of each event is supported through the fundraising of local communities, and by generous grants from donors and municipalities who see the bigger picture. When the sculptures are completed, all communities that did the fundraising are responsible for their placement such as within a national, state or city park, or library. This year’s recipient towns are Calais, Lubec, Jonesport, Harrington, Surry, Bucksport and Castine.
“The really neat thing is watching these young artists carving ambitious pieces – which they wouldn’t be doing if they didn’t have access to the large-format materials the symposium offers,” continued Salisbury.
“This year we had about two hundred applicants from fifty-two countries. Our core committee, consisting of board members who are themselves artists, spent a month narrowing down the finalists. We also invite guest jurors from Maine museums as well as sculptors to participate in the final selection. Finalists then receive a fixed stipend that includes travel expenses, food and lodging.”
Artists are allowed to choose the size and design of their project, and are taken to a variety of local quarries and pits for the final choice of cubic stone for their project. As a rule, granite is the standard material used, but some artists choose to work with basalt boulders or other glacial erratics.
As far as the selection of stone, the timeline is forgiving due to the specific travel plans of each artist. For example: Maine artists, in most cases, are able to visit quarries many months prior, so their stone is essentially onsite before they start to work and they can begin fairly quickly.
Conversely, international artists have arrived, many times, the day of the opening. Art Director Jesse Salisbury is then immediately tasked with taking them to the quarries to acquire their stone and, additionally, to meet each artist’s sponsoring community. “It is a bit of a time crunch,” says Jesse, “but fortunately there is stone for everyone by the first week.
“It’s the perfect environment in which the artists can excel, and as a plus, the University of Maine has helped us develop our ‘Artist Assistant Program.’
“Most assistants are either art school students or art department faculty, and they basically live onsite and work with the artists. It’s a great opportunity for them to work on large-scale sculptures that won’t fit into a smaller studio. It’s really a mind expanding experience for them to be able to work with some of the world’s best sculptors, while learning techniques that aren’t usually taught in this country.”
“Everybody has worked together really well, and that makes my job a lot easier. We’ve also got some great assistance from the University of Maine, which has been part of the symposium before,” explained Executive Managing Director, Tilan Copson. “This is the most efficient symposium that we’ve ever had. Being the fifth, we are pretty well practiced at putting the whole thing together – getting the artists here, and giving them a good environment to work in.”
According to Tilan, there are several payoffs for international artists that show up at SISS.
It is one of the largest symposia in the United States, and many times it is their first time to participate in something like this.
“Artists also increase their portfolio in terms of a regional aspect, so that’s also great for them,” she continued. “The environment is wonderful and is different from other symposiums. It’s one of the longest-running sculpture symposiums, so there is time to realize a big piece. Many other symposiums are short: just two, three and four weeks—so this is a chance for them to really sink their teeth into large-scale work, and that is a real benefit for them.
“I think that probably the neatest thing about this particular symposium is that we have Miles Chapin and Mathew Foster attending. Both men are artists that had worked with us in prior symposiums as assistants and have now progressed in their own right as mature artists. So watching them making these big monumental pieces is amazing and a highlight in their career.
“Bringing international artists here to work beside American artists gives everyone a chance to see and talk about the different techniques, styles and stone that might be prevalent elsewhere. They get to achieve an education in international stone working. Every day is a demonstration. Every day is a workshop. Every day is an opportunity for cultural exchange, and that’s pretty cool.”
By all standards the 2014 symposium is another smashing success due to experience, leadership and the implementation of practical sense, such as the deployment of the container affectionately known as SIAB (sculpture in a box). Owned by Jesse, SIAB houses all the electric and air tools including the compressor that the artists and helpers need in the course of the day. “Just get it on the ground, add three-phase electric and you’re in business.” SIAB is the ultimate “set it and forget it” tool box, and the “don’t leave home without it” set of tools (must have) for every SISS event.
There are, however, a few differences from previous years. The 2012 symposium (held at University of Maine, Orono) had artists located in one long row and was serviced mostly by a forklift. As needed, an onsite crane was fired-up and positioned, but only during certain times of the day. In contrast, the sculptures this year are positioned in an oval, which facilitates safe and easy crane access from the center.
“When we were at U.V. Maine we had a crane contract but did most of the moving ourselves with a forklift,” continued Jesse. “Then, when we needed the crane, we notified the crane company a day ahead of time. This year all we have is a crane, and my dad comes in every day and operates it as needed. If we had a contracted crane operator here all day long it would cost tens of thousands of dollars.”
Another change is that after the closing ceremony on September 10th, all artists stayed until the 15th. So unlike previous symposiums all artists witnessed the installation of their sculptures before they returned home.
“This time will be the first time that the participants are able to stay to see their sculptures placed in their final setting. This time I’m going to put the foundations in beforehand. I’m pre-casting them at my studio in Stueben, Maine and will then install them. Then, on September 11th, the day after the closing ceremony, we’ll just load up the sculptures and install them. We’ll only have four days, so we’ll have to work as efficiently as possible doing at least two per day.”
The Culmination of a Dream
As for the future of SISS, neither Jesse, Tilan nor the Board of Directors have any plans for a 2016 symposium. “It was a ten year project to build a collection, and this final one is the culmination of what we set out to do. It was spread out end-to-end, and logistically it got harder and harder. So we are not going to say we are not going to do it. I will say, however, that we are open to collaborating with other sculpture projects to keep certain aspects of SISS going. But it takes a quarter of a million dollars to do this every two years, so it might not happen. That said, leaving the door open, there’s a good chance for people to step forward.”
Jesse did confirm, however, that no matter what direction the symposium goes he will always be involved in certain aspects of it, but it really depends on what the situation is, adding, “This isn’t me just being involved for a month and a half; it is two years of meeting with the directors, sponsors and artists and it has taken an incredible amount of hours to put this together. It’s been great though, and I wouldn’t have done it another way.
“I wouldn’t say I’m sad that it’s over—I’m very happy with what has happened. It has been an overwhelming project in many ways, though. Overwhelming in success, and overwhelming in how hard it was to keep it going—so I’m really looking forward to some freedom and focusing on my own work.”
Tilan Copson commented, “Events like this are really phenomenal. This is our final year and our original mission as stated ten years ago. So if you just put blinders on and think about our mission, essentially, this is the culminating event, and what happens in the future is still in negotiation.
“My gut feeling is that if there is another symposium, it won’t be like this one because we will never have the same volunteer base, same board, or the same leadership. It will be different. It will be a whole new group.
“We’ve also talked about the fact that SISS is regionally exhausted. We have provided the local communities with meaningful sculpture and there are more communities that we could serve, but it is coming to an exhausted state and we would have to expand our region and go elsewhere. So when you change the area you also change the people that are part of it and it would be different.
“The amount of community involvement is off the charts, and for the people in these communities, especially the children, being able to see local as well as international artists is pretty cool. It ties us into a larger landscape, and that means we are part of a world, and not just a state.
“People have asked me about the economic impact and we are still not sure. We do know the value of the sculptures when they are done, though. I could talk about the benefits till I’m blue in the face, there are so many.”
2014 Schoodic International Sculpture Symposium Artists
Mathew Foster (Maine)
Representing Bucksport, Maine
Miles Chapin (Maine)
Representing Calais, Maine
Kyoung Uk Min (South Korea)
Representing Jonesport, Maine
Roy Patterson (Maine)
Representing Harrington, Maine
Bertha Shortiss (Switzerland) Representing Surry, Maine
Robert Leverich (Washington) Representing Castine, Maine
Valerian Jikia (Republic of Georgia) Representing Lubec, Maine
Assistant artists: Glenn Swanson, Maine; Randima Rodrigo, Sri Lanka, Wesley Nibling, New Hampshire; Shin Ae Park, South Korea. The Schoodic International Sculpture symposium site was co-managed by Mark Harrington and volunteer crane operation by Jim Salisbury.
For more information on the 2014 Schoodic Symposium, visit http://schoodicsculpture.org/2014-communities/
Peter J. Marcucci has over 25 years of fabrication experience in the stone industry. Send your comments to our Contacts page.