Today we’d like to introduce you to Herman Williams 3rd.
Herman, we appreciate you taking the time to share your story with us today. Where does your story begin?
Imagine being ten years old, creating this sculpture and then having a vision about living the rest of my life as an artist after first bringing an amazing daughter into the world – seeing her become successful – then finding my own success in my sixties? Needless to say, I wasn’t happy about my prospects, nor did I think I’d ever live to be sixty.
Well, it was as if that vision 52 years ago (which involved a lot more than we have time to discuss) became the blueprint for my life. And a major part of that dream is represented in my current bronze sculpture, “Oculi In Bravium” which is a self-portrait testament to that vision and a harbinger of even greater things to come.
A self-taught artist, I began casting my first bronze sculptures in the early 1980s after quitting my job in the insurance business to work at a foundry. I was paid just enough to require a second job waiting tables but was determined to learn everything I could about casting bronze sculptures. I spent two years learning the art of lost wax and sand-casting absorbing the entire process from beginning to end, and then wound-up casting five bronzes and sold three of them on my own.
Castings bronze sculptures was very expensive, so I reverted to creating sculptures using the copper armature wire previously employed for modeling clay figures. This resulted in creating copper wire murals for corporate commissions and a few hundred private sales over the years. In the 1980s, I was never shy about literally going door-to-door in newer industrial parks, selling my ability to create unique wire sculptures for a dozen lobbies using 4 & 5 & 6-gauge copper wire. At that time, I managed to develop a rather extensive list of collectors I could call upon for referrals or sales.
I specifically used copper wire because of its conductive nature. Creative thought is energy and since I never draw the designs before engaging them (except for commissions), I basically meditate holding the wire and then draw with it, often using one strand to create an entire piece. Each sculpture then becomes a closed energy field that emits a resonant frequency in the space where it is displayed.
In 2005, I was commissioned to create a lobby piece for a Reiki doctor. When she came to see the finished sculpture, a Shaman had made the trip with her. After studying my copper wire sculptures, she spoke about the chi energy emitted by them and wrote a letter confirming her findings.
Even though I have been quite prolific in the creation of copper wire sculptures, I’ve always felt like a second-class citizen in the art world. Never felt like wire sculptures were taken seriously (with the exception being dead artists like Calder), but I was determined to take the form to its precipice.
Around 2017, I discovered artist-grade epoxy resin to add color to my wire sculptures. This culminated in a process I devised while dreaming, which involved treating handmade paper with resin, waiting a few hours for it to partially cure, then sculpting the treated paper into shapes. This technique resulted in a one-of-a-kind, innovative sculpture/chandelier made from 4-gauge copper, handmade paper treated with epoxy resin, which was then hand-sewn onto the frame. Some LED lighting and we have the magical “Flowers In A Basket”.
Another example is this fan made from 4-gauge copper wire and handmade paper treated with epoxy resin. I discovered that after painting the paper with resin and waiting about 7 hours, the resin dries sufficiently enough (though still tacky to touch) to mold the paper. But it won’t stay as molded, which is why it was necessary to sew the paper onto the frames – another technique I learned from a dream. Each flower took about 3-5 hours.
It has always been my goal to I evolve away from the copper wire sculptures and return the wire sculpture to its original place as an armature for something greater. Creating bronzes that were like wire sculptures would be the ticket — something new/innovative, utilizing negative space.
So, I began experimenting, creating prototypes. The first of these prototypes, “Oculi In Bravium” was created in 1997, which then required the services of a master mold maker in 1999 to devise a process to create the investment/rubber mold. But I still wanted to push to negative space bronze sculpture to the limit, which resulted in “Hearts and Crosses” (10) (11) as the next bronze to be cast. I literally had to create an excellent wire sculpture for the armature just to destroy it in the process to create a bronze. I am currently working on the wax replica of “Hearts and Crosses”, which is the next step before creating the ceramic mold for the lost-wax process of casting.
The special rubber mold that cost me $2,700 is a one-use mold that will be destroyed once the bronze casting is complete. The cost for creating “Oculi In Bravium” | rubber mold $1,500 (one-use, destroyed) the casting $6,200. The “Hearts and Crosses” sculpture because it is life-sized will be 50% higher in overall cost, even with me, not the foundry, doing all the welding and chasing.
*** Most bronze sculptures are cast in sections, with individual ceramic molds, and then welded together. Then there is the art of making welding sites disappear***
It may seem like an exaggeration to tout “Hearts and Crosses” as a historic piece, as far as bronze casting is concerned, but the case could be made. Its very design is an anathema to the linear process – the 26 steps to creating a bronze sculpture. While I did not break the rules of the process (because I know the process from beginning to end), I bent the rules to accommodate my vision of incorporating this type of negative space into the design. I believe in the concept enough to put my own money on the line. You will not see anything like it – anywhere.
Finally, after 50++ years of dedicating myself – my life – to seeing a very clear vision come to fruition, it is happening!
Around the middle of February 2023, “Hearts and Crosses” 5’ x 3’ | bronze – will emerge from the foundry in all her glory, ready for an introduction to the Miami Art Basel scene.
Other projects:
Finishing novel, “A Hero In Hell” fiction, horror
A musical; “Satan on Broadway” will be collaborating with a composer from Sweden on the musical score. I have written the libretto and 16 songs.
Preparing a proposal for an Art/Education Grant titled “26-Steps To Casting Bronze Sculptures and Manifesting Dreams”.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Like so many artists and creatives, life has been extremely challenging, if not horrific at times. I have literally been at Death’s door on numerous occasions from people pulling guns on me to near misses and one major health issue. Like others, I have had childhood traumas – mine took fifty-five years to overcome, but I came out on the other side with a deep and abiding respect/love for myself and all that I have accomplished in life. Looking forward to all that will be accomplished tomorrow and the day after.
I have lived in an ashram, libraries, and restaurants while researching the origins and theology of the 3-major religions and a host of alternative and paranormal beliefs. Pretty sure I have the equivalency (self-taught) of a master’s degree in Theology. Bottom line, I am the quintessential artist, heart, soul, and mind, with the ability to use creative chi to solve problems and perform tasks.
I wouldn’t change a single pain, fear, horror – divorce, or trauma in my life because every nano-second and decision brought me to the fulfillment of a 53-year vision. And I have zero regrets or fears. Physically, mentally, emotionally, and spiritually fit for the first time in my life.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
What sets me apart from other artists; I have viewed my life, and the pursuit of excellence as artist, as one and the same. To become the absolute best, most perfect vision as an artist, I would have to become the best version of Herman. I discovered early in the process of exploring what it meant to be a sculptor of bronze sculptures that the inspiration to manifest in metal carried a huge emotional toll, and the emotions wynd up being an integral part of the sculpture.
The first time I recognized this was during the breakup of my first marriage. This bronze sculpture titled “The Wall” revealed my struggles with married life.
A year later, personal emotions were revealed once again in describing a relationship between myself and two other women in the bronze sculpture, “Shades of Vision, Shades of Influence”.
Another thing that separates me from others who cast bronze sculptures is my use of negative space. All one has to do is take a walk through any major city to see a variety of bronze monuments from the past and present. There’s a tradition in figurative sculpture that determines the look and style, especially where commissioned work is concerned.
My goal as a sculptor was to evolve and to make that evolution apparent in the physical style and look of my work through the course of my life. So, I began in the 5th grade with “Boy On His Bike” created with wire. Then, 23 years later created five bronzes in the traditional style after first learning the process from the inside out. Shortly thereafter, it was back to wire sculptures, taking the style to its pinnacle with “Flowers In A Basket”, before going back to bronze sculptures, with the negative space of wire sculptures.
I was never keen on showing my work in galleries – looking for places. To display my work because from the beginning, I was able to sell sculptures. It was more important to grow as an artist, learn, and tackle my demons and fears, even though years would pass by. I didn’t need validation from anyone about my abilities – never doubted myself as an artist. The clients who purchased my work was all the validation I needed. Living and gaining experiences is part of the creation process. More important in many ways than actually physically creating. By the time I’m ready to produce a new piece, I work nonstop until it’s completed.
Now that I have come full circle and currently making a mark as an innovator, I am more inclined to go the route of seeking representation.
Is there anyone you’d like to thank or give credit to?
My daughter, Tatiana has been the primary source of inspiration since the day she arrived to earth. I have two solid friends for life – one a successful artist, the other a successful businessman. I see my life as a solitary one, full of contemplation and study. As far as influences of my art, to be honest, I have stayed away from the arts community and dead artists. The time I spent at the New Arts Foundry in Baltimore, learning the techniques and process from beginning to end, gave me the knowledge to bend the rules and pursue the integration of negative space with my current bronze work.
Contact Info:
- Instagram: @hermanwilliams3rd
Image Credits
All photographs belong to Herman Williams 3rd
