The pictures and poetry in this sight are protected under
the copyright laws of the United States of America. The pictures
and poetry may not be copied or reprinted for commercial gain or profit.
Short quotations or occasional page copying for personal or group study
is permitted and encouraged. Permission will be granted upon
request.
J. Christopher White
is a truly unique combination of sculptor and poet. Through his hands, the aged
and weathered woods message of each wood
carving are then amplified and refined by a poem. While the messages are drawn
from scripture and his faith, the subjects that this Christian artist uses are
as variable as nature. His studies in Wildlife Biology at Texas Tech University
(Lubbock, Texas) and five years of studying human anatomy at the National
Institute of Fine Arts (San Miguel de Allende, Guanajato) in Mexico are both
evidenced in his portfolio of birds, fish, mammals and moving
depiction's of men, women and children. White's signature style of realism
flowing into stylized forms and ultimately abstract bands of fluid twist and
spins, has continually won him top honors at national and international
competitions, Including Best of Show at the International Woodcarver's
Congress in 1994.
Exquisite craftsmanship, truly unique design and moving pointed messages have
served to place pieces in museums and private collections internationally.
Chris currently resides in Loveland, Colorado with his wife Sharlane and their
two children, Brent and Kirsten, ages 18 and 13 respectively. Although a Colorado
resident he still travels to Texas several times a year to collect wood.
Technique
If one word could be used to sum up the style of J. Christopher White's
sculptures it would be movement. While wood sculpture has traditionally been
cast as static, stiff or massive, White's use of S-curves, negative spaces, and
fluid lines into shimmering ribbons of wood, has broken the mold stepping out of
the cast and into the halls of fine art. Each piece requires the welcome
challenge of obtaining the wood. Often weeks of hunting the canyon ledges for
just the right shape is involved.
Cutting and removing these aged relics usually requires rappelling or dangerous
descents and ascents, and always a lot of hard work and prayer. The process,
from fallen tree to finished sculpture, is chronicled on film to allow the
viewer a greater appreciation of the overall piece. Even in selecting the wood,
great attention is given to movement. Every line and plane has a function in the
design and draws the eye around, through or ultimately to the focal point of the
sculpture. Some forms and lines provide environment for the subject, others give
illusions of speed, grace or movement. While easily recognized for his glass
like finish and painstaking selection of only the most beautiful woods, it is
White's masterful use of the grain patterns in the wood and the inherent shapes
of the tree that sets his work apart and augments his memorable designs