Art Chowder March | April 2018, Issue 14 | Page 20

D
enying a photographic mind, “I
guess I’m just a three-dimensional
person,” says Adamson, “I see images
in the wood.” It is impossible to outline
a sketch on the wood, because once
the etching begins, the drawing comes
off. “I take pieces of wood away until
it looks the way it is supposed to.”
Adamson cautions, “You can take wood
off, but you can’t put it back.” That
rings true regardless of the material he
carves. This knowledge does not slow
his production. It used to take a week to
create an artistic piece. Now, Adamson
can hand carve one to two art pieces
daily.
Art from memory requires an
understanding of composition and
design. His subjects are often American
Indian faces or wildlife. Each piece has
accurate symmetry, proportion, and
balance. Without formal training, one
must assume this is a naturally ingrained
skill. Adamson graduated with honors
in 2016, and now holds an Associate
of Fine Arts Degree and continues to
express himself in multiple formats:
painting, drawing, and sculpting.
Harboring a preference for using live
models, Adamson needed to see the
inside of a beak for a bronze piece of a
gander defending the nest. “And that’s
how we ended up raising pheasants.”
For a time, Adamson raised pheasants,
ducks, and geese to aid in his art. His
lakefront home makes a natural habitat.
Adamson posts pictures of his work in
progress almost daily on Facebook. The
backdrop of the Kootenai River and
all the animals attracted to it are also
featured. Utilizing the internet is how
this man from a lumber mill, producing
art during his lunch hour, has become
a household name in bronze and wood
sculpture. “I was on the internet when
no one was using it.”
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ART CHOWDER MAGAZINE