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Happy New Year; 2016 in Review

Richard Erdman Studios wishes you a wonderful 2017 as 2016 comes to a close. It has been a full and prolific year with a new body of white marble sculptures, a solo exhibition, and several large sculpture placements, including the nearly completed Arete, commissioned by one of the world’s leading architects, Richard Meier, for his CDC “55 Timeless” Xin-Yi Residential Tower building in Taipei, Taiwan.

Richard Erdman Sculpture Stone Arete CDC 1

 (Arete for CDC in progress at our studio in Carrara, Italy)

“Part of the tension of being human is found in our desire for and love affair with both risk and security. For me, there is nothing more pure, pristine, and purposeful than creating a vibrant new form of life from Carrara white marble. Its ancient formation from ocean-born organic carbonates resonate time and geologic history-first our origins and now our foundation. In the cutting and shaping of my sculptures from the impermeability of this noble stone, I try to combine a grounded reality of weight and volume with flights of risk, adventure, and imagination, creating new life from old.

Richard Erdman Sculpture Stone Sequita 1

I push marble to the limits of technical carving by creating wafer-like forms. Works such as Statesman and Sequita express their core and material strength while daring us into disbelief. Sculptures like Helio, and Ciclo evoke ancient primordial forms, or celestial odysseys, as they continually moving forward and outward while also turning back on themselves. This movement expresses a sense of time here for us to take, if only temporarily, but will be replenished in perpetuity. We may be finite creatures, but marble is infinite. The upward growth of Fiora and Fleur into spaces and places unknown remain both solidly grounded while infinite in reaching desire. Such hunger for more can never be satisfied in our lives because of the limits of mortality. But in the pure, angelic whiteness of these stoic, timeless pieces we may find both the strength and excitement we cherish.” – Richard Erdman

 The White Series premiered at Melissa Morgan Fine Art in Palm Desert, CA for the solo exhibition White on White, November 19 – January 31, the opening reception for which took place on the eve of November 26.  If you’re in the area, there’s still time to catch the show, and while you’re there, be sure to visit the monumental work titled Laluz, recently installed in the gallery’s sculpture garden. Richard Erdman Sculpture Stone Laluz 1

“Richard Erdman can make marble float. In his sculptures, ribbons of stone curl like smoke through the air, or like plumes of paint diffusing through water. His abstract forms evoke thoughts of wings, waves, snakes, or human bodies. And beyond the initial impact of the geometry, the color and texture of Erdman’s materials commands attention. To many people, marble may connote whiteness, coldness, and even death, as in the marble of a tomb effigy. But Erdman’s marbles are colorful—buttery yellow, pink, red, and dark grey as well as white—and they seem alive, as if the veins in the stone were actually vessels for some vital essence.” Read the full editorial feature in Art & Antiques Magazine here.

News Art And Antiques Cover2

 We end the year where we began, with the publication of Richard Erdman: Sculpture, a survey of monumental works in stone and bronze created in the last decade. With essays by Amy Rahn and Michael Wehunt, this 160-page hardcover book takes the viewer on a journey around the world, to the vast and harmonious environments in which Richard’s sculptures are placed: upon shimmering water, among ancient trees near Lake Zurich, a bucolic English estate, and a bustling corporate lobby in New Delhi.

Richard Erdman Sculpture is a 12 x 10 ¾ inch hardcover book designed by Deborah Kehoe of Kehoe Design Associates. This hardbound, smyth sewn book has been printed in an edition of eight by Queen City Printers Inc. in Burlington, Vermont. The paper is Chorus Art Silk, printed in four-color process with full satin aqueous coating. The end papers are Neenah Oxford Bronzed, featuring a blind deboss on the blue book cloth, wrapped with a full color dust jacket, using a full gloss film laminate. The book font uses Gill Sans designed by Eric Gill in 1927-1930, originally designed for the London Underground. Order a copy here.

Richard Erdman Sculpture Media New Monograph 1

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