1960’s MARY LEWIS, 1926-2021
Artist’s Statement:
Regardless of how talented the individual, to be an artist requires dedication, discipline, self-sacrafice and uncompromising hard work. Regardless of obstacles or fame or monetary gain, one creates because one must: it is in the fibre of one’s being. Often the only reward is the selfless joy along with the pain in the creative process, then the intended response from the viewer without further comment.The truly great are few. But midst so much mediocrity, to aspire to becoming a good artist by realizing one’s potential is commendable. For through such good works one can make a meaningful contribution. I do not believe art should degrade by adding to the ugliness of the world, rather delight, inspire or in some way touch the heart and uplift the soul. My work is both liturgical and secular. My intent is to interpret an idea, a feeling, perhaps an unappreciated form in nature by reducing it to the essence and hopefully, instilling a spiritual quality while working directly with the dictates of permanent materials in an honest, imaginative way—Mary Lewis
2008 Mary in her Columbia River studio carving FISH Redwood, 51” x 29”
Artist Milestones:
1945 - 1950B.S., Sculpture, University of Oregon with Mark Sponenburgh (teacher, mentor and lifelong friend).
1947-48 UNTITLED BUST Glazed, pressed terra-cotta from a nine-piece plaster mold, life size
Summer 1948 BROTHER, JOHN asleep after his shift in the mine, pencil. THE OLD MILL (above) Elkhorn, Montana, pencil and watercolor.
Context of the Elkhorn drawings:
“My father was a Mining Engineer and Geologist. In 1933 he resigned from his position with the U.S. General Land Office to pursue his interests in the Elkhorn District until his death in 1974.
I was studying art with a major in sculpture and took any summer job I could find to finance my education. In the summer of 1948 Dad hired my Brother, John, and me to watch the pumps in one of the old mines that he was exploring (if the pumps stopped, the water level rose again to flood the mine).
While John slept after his shift, I walked up the lonely dark road with flashlight and our collie, King to our “office.” Every two hours I lighted my lamp and let myself down the inclined shaft, hand over hand on the rope to some depth until I could hear the pump running and know that all was well. I remember the absolute darkness except from my dim lamp, the smell of carbide, the dripping water in unseen pools around me. Then, two bright eyes of our faithful dog welcomed me at the head of the shaft on my return.
When the sun came up, I illustrated letters to friends and made drawings. How I found the courage for this job, I do not know. But my studies were all important, and youth has no fears. Ironically, I have never liked anything to do with mining. My interest is in the big stones suitable for carving.”
1950 - 1953
Master of Fine Arts, Syracuse University. Mabel Merwin Fellowship and technical assistant to Ivan Mestrovic.
1950 DESPAIR Work in progress at Syracuse University. “Woman in a Pensive Mood” seen behind and another students work seen in the background.
1953 - 1955
Tiffany traveling scholarship ($500) + small jobs to earn ship fare and travel money. Sailed to France, stayed in Paris 6 weeks, purchased bicycle, toured France, sold worn out bike at Cannes, hitchhiked to Italy, sailed home to Montana from Naples.
1954 ROMAN LANDSCAPE Pencil and watercolor
1955 & 1956
Woodbury, CT. Purchased and moved a little house to the land of Syracuse associate and lived there for a short while.
1956 LITTLE HOUSE purchased for $50. Drawing from letter home describing renovations. “During October I was working seven days a week to save extra funds for the foundation and moving of my little house. Early morning I would rise to lay a cement block or two, and so the foundation finally rose to completion. One early Saturday morning the little house was raised by the block and lever system to a long, low truck and transported down Main Street, Flanders Road, up our little dirt road, through a bar-way, across the back field and finally to a point where the truck could not go. From there it was lowered and gradually rolled to its final resting place where it stands now triumphantly. Now the little house awaits only my time for redecoration of the interior, repairs and minor carpentry.”—Decmber 18, 1956
1957 - 1958
Boston. Assistant in the studio of Adio diBiccari and Arcangelo Cascieri.
1957 Mary Lewis BOSTON STUDIO illustrated in letter to family, “It is a large room, sufficient for studio and living. The bricks and beams are beautiful, the cement floor and skylight ideal.”
1958 - 1960
Awarded Fulbright scholarships (2) and spent two years in Pakistan teaching at the National College of Arts, Lahore. Mark Sponenburgh was there as Principal to upgrade the college and asked Mary to come to establish a sculpture department and teach.
1959 - 1960 PROSPECTUS Mary listed as an instructor. “In recognition of your most valuable contribution in the setting up of the National College of Arts in its early years, and your professional work”—1988 letter from the Ministry of Education, naming Mary a Fellow of the National College of Arts, Pakistan.
1960 UNTITLED bas-relief, Mica schist from Peshawar, Pakistan, 18” x 15” x 2”
1960 - 1968
Independent sculptor, Woodbury, CT. Friends found a chicken brooder house in town which Mary cleaned and converted to a studio and home. Assistant to Clare Leighton (1960-1962), creating stained glass window drawings for St. Paul’s Cathedral in Worcester, MA. Mary also taught private students.
1962 TURKEY BROODER STUDIO (after). Consistent theme of red color across all studios.
Summer 1965
Sculptor, Oceanographic Museum, Newport, OR
1970 - 1976
Returned to Oregon. Rented the only house on Main Street, Tigard, an oasis with a big Maple tree in front, little yard in back and snakes under the house midst the businesses—low rent. Staff artist, View-Master.
1977 - Present
Built studio and continued as practicing sculptor to date. Now age 94.
1978 In the new studio nearing completion of MOTHER and CHILD. Positioned at height, with windows covered and skylight louvers closed to manage light and simulate the finished installation.
Public Installations:
1964 Waterbury Club, CT—mahogany and copper “Obadiah” (bird) and “Skunk Cabbage.” 1965 Boston, MA, Prouty Garden Children’s Hospital—pumice “Toad.” 1978 Roseburg, OR, St Josephs Church Chapel—maple “Madonna and Child.” 1984 Longview, WA, St. John Medical Center—rosewood “Mother and Son” and alder tabernacle door in the chapel. 1985 St. Helens, OR, St. Frederic’s Church—maple “The Holy Family” and maple “Descent of the Holy Spirit” 1987. 1989 / 2005 Portland, OR, The Grotto Peace Garden—twenty bronze reliefs “Mysteries of the Rosary.” 1991 Longview, WA, St. Stephen’n Episcopal Church columbarium—bronze “Resurrection,” edition 2. 1996 Sacramento, CA, Trinity Cathedral Church—bronze aumbry door “Descent of the Holy Spirit,” edition 2. 2000 Longview, WA, St. John Medical Center garden wall—five bronze reliefs (from the Grotto installation). 2006 Portland, OR, OHSU Center for Women’s Health—bronze “Mother and Child.” 2007 Lafayette, OR, Our Lady of Guadalupe Trappist Abbey—laminated white oak doors (four), new church by architect Dave Richen. 2009 Longview, WA, Columbia Theater for the Performing Arts donor wall—monkey pod wood “The Columbia River.” Majority of work exists in private collections.Public Installations:
Exhibitions:
1951 / 1969 Portland Art Museum, Artists of Oregon. 1952 Syracuse Museum of Fine Art. 1959 / 1960 National College of Arts, Lahore, Pakistan. 1961 / 1963 Annual New England Exhibitions, Silvermine Guild of Artists, New Canaan, CT. 1963 / 1964 New Haven Paint and Clay Club, John Slade Ely Center, Invitational and Annuals. 1966 Waterbury Arts Festival. 1967 Plaza 7 Annual Arts Festival Regional, Hartford, CT. 1981 Lower Columbia College Fine Arts Gallery Retrospective and 1983 Printmaking Group Invitational, Longview, WA. 1984 Marylhurst College, Solo exhibition, Liturgical Arts Resource Center (LARC) Invitational, Portland, OR. 1988 LoThe Grotto, Magnificat: A Festival of Christian Art, Portland, OR. Magnificat: A Festival of Christian Art, Portland, OR. 1988 Gallery Genesis, Chicago. 1997 / 1998 Works of Faith and 1997 / 1997 Gifts of Spirit Invitational, First Presbyterian Church Gallery, Portland, OR. 2000 Retrospective, Lower Columbia College, Longview, WA 2011 Retrospective, First Congregational United Church of Christ, Portland, OR. 2011 Group exhibbiton, “Divergent,” Lower Columbia College Fine Arts Gallery
Publications:
1971 "The Little Yellow Dinosaur,” View-Master, co-author and illustrator.1972 “In the Beginning—The Bible Story of Creation, Adam and Eve, Cain and Abel,” View-Master, co-author and illustrator
1976 “Jesus Christ—His Youth, Disciples, Miracles,” View-Master, co-author and original creation
1986 Contemporary American Women Sculptors, Virginia Watson-Jones
2004 Beginning Sculpture, Arthur Williams
2004 The Sculpture Reference, Arthur Williams
2016 Who’s Who in American Art—36th Edition
Recognition:
1945-49 Scholarships and 1949-50 Graduate Assistant (teaching), University of Oregon1950- 51 Mabel Merwin Fellowship, American Association of University Women, Oregon Division, for study with Ivan Mestrovic
1951 - 53 Technical Assistant to Ivan Mestrovic
1953 Tiffany Traveling Scholarship
1958 and 1959 Fulbright Scholarships (2), Lahore, Pakistan
1987 Sacred Art Society award, Portland, OR
1998 Fellow, National College of Arts, Lahore, Pakistan
“To create is necessary to my being, regardless of obstacles, fame or monetary gain.”
“To create is necessary to my being, regardless of obstacles, fame or monetary gain.”
