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Resume - Statement - Exhibitions

Bruce Biro's Art Resume

Education

1991-1996 Cleveland Institute of Art Cleveland, Oh. Major- Drawing B.F.A
June 1995- Dec. 1995 Lacoste Ecole de Beaux Arts Lacoste, France

Juried Awards

2004 Ohio St. Fair Exhibition - Professional category Jurors - Choice Award
2003 Tower Press Artist Live/ Work-Space Recipient
2002 Valley Art Center - Honorable Mention
2000 Zanesville Juried Art Exhibition - Third Place
1999 First Annual Tremont Art Exhibition - Second Place
1999 Ohio St. Fair Art Exhibition - Professional category- Second Place
1999 Allentown Mayfair Art Festival - Honorable Mention
1999 Robert Rauschenberg's Change Inc. - Emergency Artist Grant
1995 Lacoste, France Summer Drawing Internship
1995 Lederle Laboratories Memorable Shape Competition - Reg. finalist
1992 Ranney Drawing Award Scholarship
1991 Clara Rust Bringham Design Award Scholarship
1991 Student Book Competition Award Scholarship - First Place

Professional Experience

March 2008 Juried the Cain Park Art Festival - Cleveland, Oh.
July 2003 David Davis memorial panel discussion - Sculpture Center, Oh.
Nov. 2001 Sculpture Center demonstration - Cleveland Institute of Art
June- Dec. 1996 Sculpture Assistant to Zoran Mojsilov- Lacoste, France

Publications

Scene 'Into View' review - Summer 2006
Plain Dealer Friday! (cover photo) 'Hoppin' Art is all over...' - Sept 2005
Dialogue Magazine Dayton listing review - Oct 2001
Impact Weekly 'Dramatic contracts' - July 2001
Dayton Daily News 'Sinclair boasts works...' - June 2001
Plain Dealer Newspaper 'Carver takes aim...' - Feb 2001

Collection

Buckeye Public Library- Medina, Oh.

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Bruce Biro's Artist's Statement

Statement of Philosophy

The indelible mark of the reductive process leaves behind a sculpture of unchiseled stone. Carving stone transforms the interior into the surface. Penetration of the form creates an interaction of positive and negative space that goes beyond manipulating the surface, becoming a topological complexity. The forms that are worked with are not illustrative or metaphorical, and are subordinate to the negative space but that isn't meant to be obvious. With the negative space permeating the stone there is an intermingling of the sculpture and its environment which activates it, bringing it to life, evoking both action and poise. That it is a static object chiseled from stone becomes transcended.

The twisted, bending and sometimes interwoven, interlocking passages help to establish a complex dynamicism that extends 360 degrees. The sinuous serpentine elements wrap about space and twist back into themselves, self-contained works that grapple and torque the very volume that they occupy. What the form is doing resists summation at a glance and demands to be understand in the round.

"Brancusi used to say how lucky were the young people of the new generation such as myself who could look forward to uninhibited and true abstraction, not like himself who always started out from some recognizable image in nature. - Isamu Noguchi"

Stone Carving Technique

I don't use power tools- using just hammer, chisels, files and diamond-pads I feel I have a closer connection to the stone because it is slower and a more considered process. For me it's the difference between creation and production, authenticity and artifice. I even make my own chisels because the tools I use to create these forms are much thinner than what is otherwise available.

Experiencing the Sculpture

I encourage the sculpture to be touched so that my understanding of it can be be experienced by everyone. Touching informs us in a way that is more immediate and satisfying than viewing. Touch is an important part of the creative process and should be used as a way to enjoy the sculpture.

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Exhibitions of Bruce Biro's Stone Sculpture

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