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FA: You work in many different mediums, mixed media on canvas, acrylic on paper, ceramic and cement, unglazed earthenware, raku ceramic, etc... Do you consider yourself a sculptor, painter or potter?
SB: I consider myself a sculptor who paints.
FA: What interesting processes have you developed to make your work look the way it does?
SB: I hand make all my ceramic work. I don’t use molds or casts. I like asymmetrical objects, one-of-a-kind items. Before I begin to build a piece, I will score the clay (generally with a needle) to get a rich, organic surface. Although I’ve made many bowls, each one is slightly different and has its own character. I prefer to use natural dark or black clay bodies. The raku glazes I use all have matte finishes. The bowls are not meant to be used; they are sculptures that are in the shape of bowls.
FA: Can you explain what raku is and what the process is?
SB: Raku is a quicker, more spontaneous way of firing work. Most other work usually fires for up to 24 hours: heating the kiln, firing it and letting it cool down. A piece is made in clay and that is called greenware. When the greenware is dry, it is fired unglazed in a firing called the bisque. The bisqueware is then glazed and fired again. In raku, the bisqueware is glazed with special raku glazes and fired in a smaller kiln. This firing takes less than one hour. The piece is removed from the kiln and placed in a trashcan filled with newspaper or sawdust and the lid is tightly closed. The reduction of oxygen makes the glaze react. In less than an hour the piece is usually cool enough to remove from the can. How long it is fired and left in the can alters the look of the piece. It is always a bit of a surprise.
FA: What are the similarities among the different mediums you work with and what drew you to them in the first place?
SB: My sculpture and painting both favor dark natural colors. I like the subtle contemplative nature of them. The paintings have a strong surface texture: a sculptural influence.
FA: Tell us about the first piece of art you created that really made you sit back and appreciate your talent.
SB: When I was in the seventh grade, we were studying ancient Egypt. We had to do a project about some aspect of the culture. I did a clay copy of Tutankhamen's gold death mask. I made the head, spray painted it gold and painted in the details. I remember carrying this heavy, covered sculpture into the classroom. People were talking and looking at one another’s reports, drawings and maps. I unveiled my piece and the room went silent. People—some I never talked to—came up to me and complimented me on it. I realized that day the power of art to make an impression on people.
FA: Who or what has had the greatest effect on your artwork?
SB: Japanese artwork has had a strong influence on me. Japanese ceramics, woodwork, calligraphy and painting continue to impress me. I also collect leaves and sea plants that I dry and incorporate into my paintings. I want my work to be what in Japanese is called shibui. Shibui is a difficult concept to translate exactly. It refers to a subtle, elegant quality of an object. It also refers to its harmony with nature. The finished piece is to be in accord with and pay tribute to the material. I have two Japanese signature stamps called hankos. They are made from a hardwood called zugai. My last name Berg means mountain; my hanko is Japanese for mountain, yama. I also have a second hanko that means shibui yama. I use the stamps to mark my ceramic work. I also use them to create a surface on some items: most recently on a helmet covered with both hankos.
FA: How do you handle being alone and how do you balance your in-studio time?
SB: To me art is a solo business. I don’t like to collaborate. I like art made by an artist and not an assembly line. Being alone is a great thing when you have something worthwhile to do.
FA: Now for a few fun questions--to help us get to know you a little more. Name a store, restaurant or bar in your neighborhood that doesn’t get enough credit for being just plain great.
SB: I live in Sherman Oaks now but for 16 years, I lived in Little Tokyo. Roark art store downtown was very helpful to have.
FA: How about a place for brunch -- do you have any favorites?
SB: I don’t eat brunch too often. But I like Nate N Al’s in Beverly Hills. My wife also reminds me that I like it when she makes pancakes or waffles or a scramble.
FA: Why are you interested in having your artwork in films? What film, TV show or commercial do think art is used effectively and successfully in? Did you see your work in the Toyota commercial and were you happy to have it used there?
SB: Film and television are visual languages so art fits comfortably within them. I like the Draftsman’s Contract and Brideshead Revisited. They both used art as a key element of the story. I have not seen the Toyota commercial. If they use my artwork, I’m happy with that. I’d like a Prius.
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