Sculptor Barry Stein poses with "Alysa," one of his colorful frog sculptures.
In Barry Stein's world, frogs come in many colors. "Dezerae" is a perfect example.
Frogs can do many things. Wonder what this golfer's handicap is?
When little tadpoles grow up, they might look like this "Horned Toad."
This frog has had a busy day, and now it's time for a nap.
World-renowned sculptor and self-taught artist Barry Stein was born and raised in New York, but today calls the Pacific Northwest his home. Living in Oregon, Barry has been able to surround himself with nature, fulfilling his desire to study animals in their native habitat -- an integral part of his creative process.
Losing himself within each wildlife sculpture, Barry Stein brings an unparalleled intensity, focus on detail, and demand for anatomical authenticity to his work that sets him apart from other sculptors.
His artistic creations can be found in some of the world's most prestigious art collections, and his work has been displayed in such settings as the Pentagon and the Waldorf Astoria Hotel in New York City.
Barry Stein's love for nature and wildlife is immediately apparent when he discusses his work, as he does here.
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Q: It seems that frogs are your current favorite subject matter. What makes them so special to you?
BARRY STEIN: It's true; I do love frogs. I find them a most amazing and fascinating creature. Nature has bestowed upon them such amazing colors and patterns. They definitely do put a smile on my face -- and I love to see the reaction of people when they see my frogs.
I love to sculpt all kinds of figures; I like to put in hidden detail. Whether it be wildlife or even samurai, seeing people's reaction to the fine detail is truly rewarding.
Q: Can you explain the lost wax casting method that you use to make your sculptures?
BS: Lost wax casting dates back thousands of years. Although it is very labor intensive, it captures all of the detail and life of a sculpture. I use wood, preferably Tupelo wood, for creating all my original masters. Carving in wood renders so much more vast detail than could ever be accomplished in sculpting clay.
After sculpting the original master in wood, a mold is made and from the mold comes a wax casting. This wax casting is dipped in ceramic to make a hard shell. This dipping process alone can take over a month. The wax is melted out of the shell and the liquid bronze is poured in.
Heat is applied to the sculpture, and a variety of chemical patinas are applied, producing the colors seen on the bronze sculpture. This patina process is so important to give life to the sculpture. I have developed some new techniques and chemical formulas that are very different from what is available on the market.
Q: What kind of research do you do prior to beginning a sculpture?
BS: I take a lot of photos in natural settings. When I sculpted my first bison, my family and I traveled to the Badlands of North Dakota and photographed bison in their natural habitat. Also, all of the sculpted bases that I put my wildlife sculptures upon are actual rock formations or other settings that do exist, and that I have photographed for that particular sculpture.
Q: What do you think sets your work apart from others?
BS: Attention to detail. My desire is to make the piece feel alive in your mind, for you to feel the movement. When I am sculpting, quite often I lose track of time. Creating is something that flows. Sometimes it is effortless; sometimes it is work to bring it out. When it is flowing, it is so difficult to stop. I put in the time necessary to create tremendous detail.
Q: What would you like to sculpt that you have not tried yet?
BS: It is my hope to create a monument to be displayed in a public place, of any subject matter. I hope I can continue to grow and learn with each sculpture I finish.
Q: What reaction do you want people to have to your work?
BS: I enjoy seeing people react to my sculptures -- laughing at the frogs or stopping to examine the detail of the feathers of the eagle. I love when people discover and comment on the detail for themselves. Getting a reaction is everything to me!
Q: How does it feel to be showing your sculptures at Wyland Galleries?
BS: I can remember in the 80s going into a Wyland Gallery, loving the atmosphere and the way the sculptures were displayed. I said to my children (I was a single parent), I hope to someday be good enough to have my work displayed in a Wyland Gallery.
I have had the honor of having my work displayed in places like the Pentagon ... but being in a few of the Wyland galleries was a dream come true!
Q: What advice has helped you as an artist?
BS: My mother told me at an early age that I would be a sculptor. She said money is not the priority; the priority should be the joy of the work.
The ability to create art is a gift not to be taken lightly -- it is something to be cultivated and shared. And it is an obligation to help people appreciate all that is around them in nature.
Q: What advice do you have for young sculptors?
BS: I believe anyone who has the desire can sculpt. Some people are quicker than others ... just be patient with yourself and create the time.
