Interview with artist Sandra Sell
Sandra Sell, a native of New Hampshire, retired from the United States Army in 2005 and eventually relocated to Little Rock and earned BA and MA degrees in studio art from the University of Arkansas Little Rock. She is a mixed media artist most recognized for her expressive wood sculptures, which are included in the permanent collections of the Arkansas Museum of Fine Arts, University of Arkansas at Little Rock, Historic Arkansas Museum of Little Rock, and Asheville Art Museum North Carolina, along with many private collections. More of Sandra’s work can be found at M2 Gallery in Little Rock, Justus Fine Art Gallery in Hot Springs and at her Instagram.
AAS: Sandra, where did you grow up?
SS: I am a native of New Hampshire. Upon completing a career in the military, I relocated to Arkansas where I earned a MA in studio art from the University of Arkansas at Little Rock.
AAS: As a kid, did you like working with your hands? Were you especially creative?
SS: I have always had a robust imagination and the physical dexterity to build and take apart all types of things. Tree forts, bicycles, sewing and anything I could get my hands on. In grade school I remember drawing pictures rather than writing words for book reports. I didn’t take any art classes until I was halfway through high school.
AAS: When I think of a Sandra Sell sculpture, I think of elongated curves and reaching for the sky, like in Twisted Poise. Your sculptures still pay homage to the tree – the wood’s origin. Is that a conscious goal or does it just come to you without thinking about it?
Twisted Poise, holly, 16” x 3” x 2”
SS: In a way I am thinking of the tree, simply by working with any abnormalities it presents. Additionally, the beauty of the wood has its opportunity to shine when I pair the rough and smooth textures. It adds interest to the form and extends the viewer’s gaze.
For instance, Twisted Poise is carved from Holly. Its elongated neck indicates the ability to see in multiple directions. Even presenting the notion of wisdom. The pattern you see running vertically is burnt into the surface. It is a pattern that reminds me of my late mother.
On the Rise II, maple, 25.5” x 7” x 8”
AAS: On the Rise II is an incredible piece. Did you see the final result before you even started carving?
SS: Oh yes, the sketch is dictating the direction that the sculpture is going. On the Rise II is part of my On The Rise series. Maple was selected for use in this piece because it has strong tight grain. Also, the lighter color of the wood works well with surface burning treatment.
“My process begins with the classical approach of sketching and continues with the reductive technique of carving.”
AAS: I am curious. Is there a part of your process of sculpting wood which you find more satisfying – rough cutting a piece or the final shaping and sanding?
SS: My process begins with the classical approach of sketching and continues with the reductive technique of carving. The initial roughing-out is done with a chain saw followed by a succession of a variety of tools such as a drill, Sawzall, grinder, Dremel tool, die grinder, and hand tools. The last third of sculpture development is the most exciting for me – deciding on the surface treatment by choosing texture and color that best suits the design. Mind you, the whole time I’m working on a sculpture I am asking myself how to best represent my intention, the intention I started with when I began sketching.
Placid Rise, maple, 25” x 13” x 10”
AAS: Placid Rise is just a wonderfully balanced abstract. I love the way you grounded the base by leaving it “unhoned” compared to the rest of the sculpture. Tell me about that piece.
SS: I have imposed a story on most of my pieces. The On The Rise series is a metaphor I have developed about the learning process. With the first/lowest element being the least complex. With each subsequent rising element becoming more developed. As we intentionally learn a skill or subject, we get more defined. This is displayed on the sculpture by making each rising element more defined than its predecessor. This allows the viewer to see learning growth from the rough wood start to a refined element on the top level.
AAS: You sometimes apply paint of various types to the finished sculpture. In Connected Poise the light and dark so effectively accentuate and reveal, at least to me, balancing acrobats. Do you create a piece knowing you will add paint or leave it natural?
Connected Poise, ash, milk paint, 45” x 12” x 10”
SS: Almost always I know at the onset if I will add paint to a surface or not. When I develop a series, they all stem from the same initial sketch, thus maintaining similar aspects throughout. The Poise design has a built-in base that is hollowed to aid in the visual movement of the eye.
This piece, Connected Poise, is made from an ash log. Chosen because it has a good amount of weight to the wood, allowing me to achieve longer height to base ratio. The surface of the sculpture has undergone a series of push and pull treatments. Extensive sanding to achieve smoothness, then portions were textured with the chainsaw. Creating a rhythm of tension between rough and smooth.
A succession of burning then wire brushing, alters the color and accents the wood grain. The black coloring makes the tree less recognizable, allowing the viewer to focus on the form rather than the wood. Additionally, I added a milk and acrylic paint mixture on the interior space developing its personality.
“I developed an understanding of working with wood as a child. Cutting and splitting firewood along with building numerous forts, all these things informed my understanding of wood.”
AAS: Your work is in many notable private collections and major museum collections including Curved Exposure, which is in the Arkansas Museum of Fine Arts Permanent Collection. And many of our friends have one of your pieces, as do we. It must be gratifying to see the response to your work.
SS: While at UALR other students tried to entice me with stone carving or making cast sculptures. They were unsuccessful. I developed an understanding of working with wood as a child. Cutting and splitting firewood along with building numerous forts, all these things informed my understanding of wood. Maybe my work has been received so well because there aren’t many artists creating abstract wood sculptures. Wood has its own warmth and familiarity we all know.
Curved Exposure, sycamore, 98” x 26” x 24”, AMFA Permanent Collection
Curved Exposure was created early on in my wood sculptural experiences. But before I started living as an artist, I chose a career in the military with a target of acquiring a pension. One downfall was that in 1983 it required me to hide my sexuality, and I didn't feel confident exposing my choice. I couldn’t explain it to myself much less explain it to others. I am speaking of being gay. I wanted to be an artist, and I needed some income, other than making it mandatory to sell art. I remember the enthusiasm I felt while developing this sculpture. I was motivated to create a form that could expose parts of myself that I previously kept guarded. The open carved body reveals burned wood that was a closed off characteristic of my gayness. With the muted green exterior representing time spent in the army. Now these two personal aspects can be viewed simultaneously. I was very fortunate that when I had my master’s degree exhibition at UALR, Brad Cushman (then Gallery Director) reached out to collectors Curtis and Jackye Finch, Jr. with an invitation to come view my work on display. They apparently saw potential in my style and dedication to the process. I guess this inspired the Finch’s to purchase Curved Exposure for the permanent collection at AMFA.
AAS: In 10 years you’ve gone from UALR student to instructor of woodcarving at Penland School of Craft and at the AMFA art school. How has it been working with students of all ages and all skill levels?
SS: It is important to remember that I attended UALR shortly after I retired from the Army. The advantage of that is I am task orientated, and I had been waiting over twenty years to be there. I was an eager student who was also the same age as most of the instructors. Becoming the best artist that I could was my primary goal.
Hearing about Penland School of Craft sparked my interest, I signed up to attend class there on a work scholarship. Penland was an immersive program that facilitates a focused learning experience. It is an experience that stays with you for life, so much so that I attended two additional times as studio assistant. Then again as an instructor myself.
After that it seemed like a natural progression to teach here at AMFA. I feel comfortable teaching. I don’t have many preferences when it comes to teaching, not age, skill level, or style of work. The two primary things I am looking for are: motivation and safety. The satisfaction in teaching is when you observe personal growth in the students. They walk away holding their heads high filled with accomplishment and self-worth.
AAS: You took an apprenticeship with the amazing Robyn Horn as you were finishing your MA in Studio Art at UALR. What was that experience like? Looking back, what do you think were some of the most impactful things you learned?
SS: We never know how we will be impacted when meeting new people. And that was true for me 14 years ago when I went for a visit at Robyn Horn’s studio. Up until that point I was not working in wood carving, but all that changed with that one visit. I’m extremely grateful that Robyn opened her creative time to me. I learned mountains of things from watching her work.
The most impactful things I learned were that you need to start with a good foot (where the sculpture sits on a surface) and that believing in yourself is half the battle, so when you begin a sculpture, you have a reasonable expectation of completing it to your desired standard.
AAS: Sandra, what can we expect from you next?
In The Weeds, maple with steel base, acrylic paint, 14” x 5” x 2”
SS: Recently I’m working on incorporating my paintings and sculptures, an example of that is In The Weeds. I start by painting on wood then go back into the painting with carving tools. These back-and-forth practices take much longer because the design is removed into several depths. Additionally, the painting image needs to represent volume and distance. This is such a new process that I have only made two of these sculptures to date. I have barely touched the surface of this exciting process; you can expect to see more down the line.
Robyn Horn’s and my studio are located 2 miles apart, and for the past three years we have held an Open Studio together, where our work can be viewed and purchased. This year it will be December 6 and 7, from 10:00am-4:00pm. A bonus for visitors is that artist Elizebth Weber will have work on display at my studio. If anyone is interested in more details, they can email me.
