Carl Wright never really had a choice. He had to work in 3-D ……everything else seemed so …. flat. His medium of choice is stone because of its long lasting beauty, its ability to evoke emotion and stability through the tactile feel and it’s sweeping design. Carl sculpts abstract shapes in alabaster, marble and limestone. He prefers alabaster because of the color, its workability, and because it is not a homogenous color. “Marble is great for indoors. Limestone is great anywhere“. Abstract stone sculpture conveys different thoughts and emotions to different people making it a good choice to engage the maximum amount of viewers. It is also durable and low maintenance.
Carl Wright has been a full-time artist for 18 years He has participated in three Public Art programs, received a Professional (Artist) Development Grant from the State of WV, and participated in juried museum shows. He is represented by five galleries: one in DC, two in North Carolina, one in West Virginia and one in Arizona. His work resides in homes in Zug, Switzerland, Washington, DC, and Orlando, FL to name a few. One sculpture is in a large pharmaceutical corporate headquarters in Durham, NC.
Stone is a natural choice for Carl’s work because of its ambiguity. His sculpture is characterized by the contrast of the cold hardness of the stone and the warm sensuality of the form. Carl’s sculpture is a delight to the eye and an uplift to the soul. It is meant to be a soothing balm to the eye after a day in the working world. The sculptures do not shout their presence, but have an authority and stillness all their own. Most people are hustling from one place to another – always in a hurry. Wouldn’t it be great to be able to have some artwork that would infuse them with calmness or bring a smile when it was looked at?
The sensual lines and forms of his sculpture surge, separate, and then rejoin in a continuous dance of design and shape. Most of his sculptures have openings in them – some long and narrow and some circular. The piercing in the stone serves two purposes. First is to highlight the design by releasing the color and form to the daylight. The second is far more devious. The piercing points up the implied weightlessness, because of the light pouring through the sculpture. The weightlessness is contrasted to the viewer’s knowledge that stone is a heavy medium thereby setting up a level of ambiguity. These openings also meld into their surroundings, showing fleeting images of people passing by and vignettes of the surrounding environment.
The sculpture, particularly Oonami, Ugukasu, and Ukei, are about fluidity and implied – rather than stated – motion. Many of his sculptures appear to be caught, as in a photograph, between the movement they had just performed and the next movement they are about to begin. His sculpture in that sense shares many characteristics with Japanese design – understated beauty, grace, and timelessness – ergo many of his works have Japanese names.
The Carl Wright Gallery: