Seth Rolland
We are pleased to share the art and ideas of Seth Rolland in the sixth installment of the NWDC Artist Interview series.
"I make animated, intriguing, functional sculpture for people who enjoy both utility and artistry in the objects they live with. Furniture is interactive. We develop a bond with it. When a chair or cabinet leaves my studio, it takes on a new story with its owners through generations of use.
Since 1990 I’ve been crafting custom furniture. Thanks to an architect mother and a landscape architect father, I was exposed to materials and tools at a young age, as well as an appreciation of good design. My path to woodworking might have begun at age six when I built a raft, or later during a boat-building class with 83-year-old master builder John Gardner. But an apprenticeship with custom furniture maker Janis Colella taught me that furniture offered an appealing freedom of expression and variety.
I’m thankful to have enjoyed some recognition through a variety of awards and exhibitions, such as the John and Joyce Price Award of Excellence at the Bellevue Arts Museum (BAM) Biennial 2014: Knock on Wood. This led to a 2016 solo show at BAM entitled Balance and Tension: The Furniture of Seth Rolland. You can find my work in art shows, galleries, museums and publications around the country, and I teach workshops annually."
- Seth Rolland
How were you introduced to art?
My grandmother was a painter and always took me to museums as a child. My mother was an architect and provided lots of building toys and craft materials for us. We sewed colored felt into patterns and images, made things from old phone wire and wood scraps, and made decorations out of macaroni, cut paper, and homemade play dough. And we had numerous Bauhaus-inspired building toys.
Where do you find inspiration when creating new work?
In the woods, mountains, ocean, and desert. Out in nature is where I'm happiest and most likely to notice the beauty all around me.
What do you consider your greatest artistic achievement?
Ideally, it's the piece I just finished, though that's not always the case, and even when it feels like that, it often doesn't feel that way for long. It's a tough question. Maybe the body of work I've made through accordion cuts, as that creates pretty unique forms that I've developed and pursued for 20 years now. Maybe continuing to have fun while making a living producing and selling my work is the best achievement of all.
What is the quality you most like in an artist?
Curiosity. I think everything else comes from that.
Which living artist do you most admire?
So many good choices. I really admire Andy Goldsworthy as he uses scavenged materials and no tools while spending time in the most beautiful workshops in the world. It's tricky to add art to a perfect environment and I think he succeeds.
If you could change one thing about yourself, what would it be?
I wish my memory was better. I've forgotten so many good things, though I can't tell you what.
What is your most treasured possession?
The art I have that is made by family and friends. Each feels like a little piece of them and makes me happy.
Who has had a significant influence over your work?
My parents have had a strong influence on me. My mom was an architect and my dad a landscape architect and my clean-lined contemporary aesthetic is largely their influence though they weren't as into curves. My wife, Me'l Christensen, who makes block print, batik, and tie-dye clothing has had a big influence in showing me how to make a living with craft. And a few woodworker friends - Janis Colella, Dean Pulver, and Kevin Reiswig have been great influences as well.
How has your studio practice changed?
I'm in the process of trying to stop doing commissions (it's hard to say no) and focusing on speculative work. I have a lot of ideas that have been on the back burner for too long and I'm looking forward to spending time pursuing those.
What is your idea of perfect happiness?
Camping in the forest or mountains with friends!
Who has had a significant influence over your work?
My professor of textiles at the University, Gracia Cutuli. She gave me confidence. Isabel Iriarte, an extraordinary art history professor who transmitted to me her love for pre-columbian textiles in the Andes. Some brilliant students and collegues: the exchange of working with others always modifies me. I was working the last year on a project with a friend, Andrea Nosetti, and she changed my perspective all the time.
How has your studio practice changed?
I am reading again very old booklets I have with ideas. Also organizing old drawings. Looking back makes me realize what aspects or ideas are always there.
I am not so worried about doing it all perfectly, I am learning to lose control. In a way, the pandemic was a reason for that.
What is your idea of perfect happiness?
To do meaningful things you love with people you like (and some good food always is a plus).
Images: Music Stand 8 | Schneider Stone Coffee Table | Wave Desk | Oxeye Hall Table
