DESCRIPTION OF WORK

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"I’ve done painting, drawing, printmaking, ceramics, and enjoyed them all, but I’m having a suspicious amount of fun with sculpture," says Bill Starke, whose figurative bronzes prompt second glances from the viewer—and often smiles, along with a revelation or two. Starke is a philosopher whose intent is to produce thought-provoking ideas through his works and prompt dialogue. "I’m most interested in presenting positive imagery that portrays human beings interacting and cooperating to accomplish goals. Life is better when we work together than as individuals." As an example, he points to "Leap," a two-figured bronze depicting one character leapfrogging another. "I’m always looking to employ a little humor in dealing with a serious subject and to present more than one interpretation. In ‘Leap,’ you either can see the individual being hurdled as someone who is bending down to aid the leaper to get to another place or as an obstacle that the leaper must vault."

METHOD OF WORK

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Starke, an accomplished printmaker who began sculpting five years ago, keeps a card file of inspirational words, ideas and visual concepts clipped from magazines and newspapers. To start, he makes rudimentary sketches from which he will create 4- to 5-inch wax figures—"my drawing materials"—that he can combine and manipulate as the concept germinates. Once he forms the desired composition, he then enlarges the figures and adds detail. "In what I’m working on now, most of the figures are 12 inches tall—a pretty good size for detail," he says.

"Plus, it’s a good scale to live around." Though he uses three foundries in Denver to cast the bronze, all other labor is performed in his studio, from the mold-making, wax-pouring and chasing to the welding, bronze chasing and patinas after the metal castings come back from the foundry. Starke stresses that he personally completes the finishing himself rather than go though the foundry process, which allows him to produce sculpture that is more reasonably priced. And there’s another benefit: "Having much knowledge and control over those processes allows me to realize more ideas," he explains, noting that it can take about six months for a sculpture to go from maquette to finished bronze. "It’s a good idea to set something aside, work on something else, then go back to it. For example, in the case of ‘Through the Eyes of the Past,’ I had that head sitting around my studio for a good part of a year. I try to have two or three ideas happening at all times." He pauses, then adds with a chuckle: "I’d like to have more, actually."

FAVORITE SUBJECT MATTER

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"I focus on human beings, with an emphasis on anatomical detail. The more grounded you are in tradition, techniques and anatomical knowledge, the more free you are to create works that are unique to you," explains Starke, who has been an anatomy instructor at the Arts Students League in Denver for more than a decade. "I want my sculpture to start a dialogue and stimulate thinking, but not provide all the answers. Just raise questions. I try to create works that appeal both to the mind as well as the eye, works that elicit a certain ‘ah ha’ factor."

ON SWITCHING TO SCULPTURE

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"It’s hard work, working with metals," Starke says. "Noisy, dirty, loud ... but there’s something exciting about creating objects that potentially have such a long lifespan. I also like the fact that bronze is done in editions. Since my work is conceptual, it’s more powerful to have these ideas shared by many people." And would he ever consider returning to printmaking? Starke pauses, then responds with a smile: "It has been so satisfying to do sculpture; it is the medium I was searching for, but just hadn’t discovered. It best fits the ideas that I have. This is what I will spend the rest of my life doing."

FIRST ARTISTIC IMPRESSION

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"I’ve always been interested in drawing and painting people," says Starke, who cites the technical skills employed by the Renaissance artists as an initial inspiration. "In college, I got introduced to contemporary artists. The works of Leonard Baskin, in particular, really spoke to me. I majored in printmaking, and he was a contemporary artist working in a line of figurative, traditional artists who had powerful graphic images. He was also a sculptor."

MOST INFLUENTIAL PEOPLE

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"Growing up in Denver, I had a fantastic art education," Starke says. "In addition to attending college and art school, I was mentored by local artists. In college, I studied with Jim Westergard, who fostered my love of intaglio printmaking and fine craftsmanship. At the same time, I participated in life-drawing groups outside of college, where I met two very influential artists: Ned Jacob and Jon Zahourek. They were great friends and mentors, and they became great role models. So I got the best of both worlds: the traditional art school route and experience with artists who were making it in the real world. Those experiences are priceless."

BIGGEST BREAK

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"While I was drawing, painting and printmaking, I had ideas FOR three-dimensional pieces, but never showed any until 2000, when I started exhibiting my sculpture in national art fairs in Denver, Chicago, St. Louis and Sausalito, California," says Starke, who earned a B.A. in drawing and printmaking in 1973 and is now focusing on monumental sculpture. "That put my works in front of hundreds of thousands of people and led to representation and larger commissions."

ACCOMPLISHMENTS

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Art & Antiques Emerging Artist award, Salon d’Arts, Denver, 2004. Elected as a Professional Sculptor Member to the National Sculpture Society, 2003. Port Clinton Art Festival (Highland Park, Ill.), first place, sculpture, 2002. St. Louis Art Fair, first place, sculpture, 2001. Celebrate Colorado Artists Festival, Denver, best of show, 2001. Colorado 2000, award of merit, 2000. Curtis Art Center, Greenwood Village, Colo., top award, 1998.