We are very pleased to share that National Sculptors' Guild Fellow Michael Warrick has been recognized by the Arkansas Arts Council as the 2020 Arkansas Living Treasure for his work and dedication to the craft of metalworking.
“Creating and teaching are very important to me,” Warrick said. “I have made it a personal goal to help others learn and create through the craft of metalworking. In my own creative metalwork, it is my hope that I can bring elements of our humanity and history through the craft.”
Warrick, who teaches at the University of Arkansas at Little Rock, has been shown locally and internationally. His work was shown in a solo touring exhibition in 1996 that appeared in the Strause Gallery of the Arkansas Arts Center. A recent sample of Warrick’s work sits in front of the main entrance to the new Windgate Art + Design building at the University of Arkansas at Fort Smith.
Warrick’s work has appeared in exhibitions and public installations locally and worldwide. He regularly does commission work, including a piece he created in 2017 for the Little Rock Sister City Commission to give to the City of Hanam in South Korea. A video about that project is available via UALRTV.
Warrick is currently completing an 18-foot stainless-steel with gold leaf sculpture "Mockingbird/Orange Tree" commissioned through the National Sculptors' Guild for The Groves in Whittier, California.
Warrick has studied his craft for more than 30 years. He started learning metalworking in 1967, when he took an industrial arts class in high school that included welding. He became a certified welder in 1972 and worked on large-scale mining equipment trucks, industrial fixtures and railroad cars.
He attended Illinois State University as an art student in 1976. There, he learned metal casting and sculpting, and as a graduate student, he learned to work with cast iron. By 1995, he had picked up the technique of ceramic shell casting, which allowed him to cast finer and thinner bronze works.
Warrick is constantly learning, experimenting and evolving. In 2015, he learned 3D printing with polylactic acid plastic (PLA) and used the new technology in tandem with traditional lost wax casting for his metalwork. The resulting large-scale, 21-by-15-by-15-foot sculpture sits today outside the Statehouse Convention Center in Little Rock. The sculpture is a fascinating mix of stainless steel, bronze, glass and concrete that celebrates the Louisiana Purchase.
“I am a firm believer that there is much value to learning traditional methods for creating in cast metal,” Warrick said. “I am also curious about contemporary techniques in the production of objects and how they might be enhanced by joining old and new techniques.”
Warrick is committed to maintaining and advancing his craft through mentoring, teaching, lecturing, demonstrating and building through teamwork. Since joining UALR in the fall of 1990, Warrick has been instrumental in securing grants, including one to build a foundry and kilns for metal casting for the university. Another grant allowed him to bring in renowned lecturers in metalworking. He also sat on a committee that brought public sculptures to the university to “embellish the culturally rich environment.”
Warrick is known as a dedicated instructor who teaches multiple metalworking courses. He said being a mentor to metalworking students is vital because mentors perpetuate the craft and can change lives. He has mentored students at ULAR, supervised interns from the University of Central Arkansas and taught students from his home studio. He has consulted and taught workshops and classes in Indiana and Tennessee.
National Sculptors' Guild Associate Harold Linke was selected by Peggy Fleming Jenkins to create the new Peggy Fleming Trophy for the Broadmoor Skating Club.
The award was created by the 1968 Olympic gold medalist to recognize skaters who, like Fleming-Jenkins, excels in artistic expression and presents a performance that is a complete composition. The inaugural award of the trophy was presented in Colorado Springs at the Broadmoor World Arena on Friday June 22, 2018, to Timothy Dolensky of Atlanta.
Harold Linke is known for simple, elegant, lyrical sculptures that capture the essence of the movement and the emotion of the moment. This trophy is in harmony with those themes and is meant to capture the evocative beauty inherent in truly artistic figure skating. Harold said, “Working with Peggy on this project has been such a joy. She has such artistry in her skating that made my sculpture a natural fit for this trophy. I am honored to have been selected to create it, see it presented by Peggy, and to meet its first recipient.”
The Peggy Fleming Trophy is awarded for excellence in artistic skating and is presented by Peggy Fleming Jenkins and the Broadmoor Skating Club
2018 is the inaugural year for this new competition in which a total of 27 Junior and Senior level men and ladies competed together in presenting each skater’s ability to artistically express and present a complete composition while demonstrating technical skills. The music, creativity and overall performance were the emphasis of the event and all elements were assessed from an artistic point of view. Judging guidelines allowed creativity and expression to take center stage.
These elements were the accents of the program, not the driving force and had set base values so that competitors could focus on performance instead of the number of revolutions and/or positions.
The competition recognized an important emerging direction in figure skating which is gaining new significance. There was one unifying goal -- showcase artistry and creativity in a competitive setting. For instance, a “signature move” had been added as one of the elements. This move could be an iconic, or a new and original, move, jump or spin tailored to each skater’s style and imagination.
Peggy Fleming, a member of the Broadmoor Skating Club when she won the 1968 Olympic Gold Medal in Figure Skating, supports this direction and is privileged to have introduced the Peggy Fleming Trophy as an event in the 2018 Broadmoor Open in Colorado Springs. Peggy commissioned an original sculpture as the trophy to celebrate the event. Timothy Dolensky of the Atlanta Figure Skating Club came in first place winning a price of $3000. Camden Pulkinen of the Broadmoor Skating Club and Jordan Moeller of the Northern Ice Skating Club placed in second and third and won prizes of $2000 and $1000, respectively.
In addition to the winners, the following is a list of skaters who participated in the 2018 inaugural event: Lily Sun, Sonja Hilmer, Emily Chan, Thomas Schwappach, Lauren Russell, Jamie Hathaway, Ben Jalovick, Ivy Liu, Courtney Hicks, Jacob DeWolfe, Morgan Sewall, Nakira Kreofsky, Maxine Marie Bautista, Haley Conrad, Danil Siianytsia, Marielle Chambers, Maryn Pierce, Nica Digerness, Julia Fennell, Alyssa Rich, Mieryla Flindley, Livvy Shilling, Andrew Torgashev and Hannah Harrell.
Kathleen Caricof's "Beginning Life" won Best of Show at Little Rock's Sculpture at the River Market.
The city will be placing this in their new sculpture garden, the Vogel Schwartz Garden designed by National Sculptors' Guild director John Kinkade, along with several others from the show.
Update 2003-Present: More recent images show nature's changes made to the sculpture's patinas following area wildfires. We wish everyone safety when these unfortunate fires spark up. The beauty of the art, the land, and the people prevail.
Update November 2000: Our design team won the 2000 Orchid Award from the San Diego Architectural Foundation for the Barona Casino Entry!!
THE SDAF ORCHID
Update March 1998: The Barona Band of Mission Indians commissioned the National Sculptors’ Guild to design an entry honoring their living and deceased elders. “The Greeters” was ceremonially blessed and dedicated on March 5, 1998 in Lakeside, California.
The design and creation of this monumental statement took the team over a year to plan and execute. The sculptures were placed in August of 1997, and the environmental sculpture and plantings were finalized in early 1998. This placement follows a previous commission by the Barona Tribe, a Veteran’s memorial that the National Sculptors’ Guild and Denny Haskew dedicated in 1996 - "He Who Fights With a Feather"
The Barona are incredibly generous, both collectively and individually, everyone we met were generous with wisdom and nurturing of the future; working with the Tribe has been a highlight for each member of the design team. Learn about their philanthropic efforts
A large-scale art placement was created for the Barona Band of Mission Indians by the NSG design team: Denny Haskew, lead artist; John W. Kinkade, JK Designs, Principal; Greg Hebert Landscape Architect; and Beaver Curo, representative of the Barona Tribe.
The entry statement includes multiple sculptures intermixed with earthworks. The rim of a basket emerging from the earth planted with native grasses as a backdrop for sculptures of stone and bronze. Patterning of the landscaping is derived from the Tribe's traditional basket weaving designs. Oak trees that were the sustenance of previous generations connect the earth to the sky. The monumental sculptures, "Respect all that is Natural", "Observe Nature", "Give of Yourself", "Love Song" and "Trail of Forgiveness", are visible as one traverses the 200-foot diameter site, welcoming visitors to the the Barona Resort & Casino. The sculptures represent all Tribal people, the very young and the elderly, as well as the unborn children who represent the future.
Haskew's sculptures are a combination of bronze and monolithic Dakota sandstone that stand 8- to 13-feet high and weigh 7 to 10 tons each. Emerging from the face of each stone are bronze figurative elements. Haskew has developed a special patina technique to match the unique variations of the stone. The sculpted forms depict an old man, a child, a young mother, a flute player and an old woman. Each has symbolic significance. In his dedication speech Haskew advised that the eagle feather held by the old man is an admonition to “respect all that is natural. That’s everything, all of us . . . . All of life.” The child points her finger to the landscape of the Barona reservation and gives the admonition to “observe nature.” Honoring all the mothers before and after her, the young mother lifts a clay pot that she has made to honor Mother Nature and all mothers “who give of themselves,” Haskew said.
• Respect All that is Natural: The old man holds his prayer feather and blesses this new valley. Respect all that is natural and be one with this new place.
• Observe Nature: The young child points to her new valley. Observe nature, she says. We honor all the small children forced to move from their homes to this new valley.
• Give of Yourself: A woman holds her handmade pottery and tells the viewer: Give of yourself in this new place that we all may prosper. This sculpture honors all the women who had to leave their homes and gardens for a new valley. -Denny Haskew
Beyond the initial trio stands two monoliths, the figure emerging from the larger stone wears a Barona eagle feather headdress, he is a flutist playing a love song to his future bride, represented by a smaller monolith. This smaller stone is void of a bronze figure and “represents woman and the unborn child,” explained Haskew,...“Love is the thing that binds the two together. Love binds all of us together.”
The final sculptural element is of an old woman with her hands lifted in prayer. “A lot of bad things . . . have happened to Native People over the last 200, 300, 400 years,” said Haskew knowingly as a member of Oklahoma’s Citizen Potawatomi Nation. “That Grandmother back there is saying it’s time to find a new trail, a trail of forgiveness.” Her wisdom is imperative for the world's future generations.
The Barona are incredibly generous, both collectively and individually, everyone we met were generous with wisdom and nurturing of the future; working with the Tribe has been a highlight for each member of the design team. Learn about their philanthropic efforts here.
JK Designs’ Principal, John Kinkade, founded the National Sculptors’ Guild in 1992 with a handful of sculptors who wished to find thoughtful public applications for their work. Representation has since grown to