Gary Justis


My approach to the making of Sculpture in the studio has always been motivated by the need to actualize new ideas. The processes of research, both in study and active manufacturing, shifts back and forth between issues of function and craft in creating non-objective works of art. Production is the essential key for keeping the process of art-making alive. The act of building has always yielded formative structures in the mind, which in turn find expression.

My investigations in the area of sculpture have moved through many phases. In some cases I have addressed only material issues, in some ways my work has been more imitative of the great art that has influenced culture, and still other phases have addressed current issues. Much of my inquiry comes from a curiosity in the history of useful objects. Through time I have developed an interest in a science of need where the invention of objects as extensions of the human body provides fertile ground for exploration. Forcing objects beyond their intended use is a sculptural experience. I’m looking at an expansion of meaning through time, a metaphor for movement through physical space. My work in kinetics has moved forward, from the 1970’ to the present day, along with many investigations into the area of non-kinetic works.