We’re excited to introduce you to the always interesting and insightful Jud Bergeron. We hope you’ll enjoy our conversation with Jud below.

Jud, thanks for taking the time to share your stories with us today Have you been able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen? Was it like that from day one? If not, what were some of the major steps and milestones and do you think you could have sped up the process somehow knowing what you know now?

I have been a full time sculptor for 20 years. Prior to that I have always worked in the industry, primarily at bronze casting foundries across the country. I did not attend a typical art school and as a result I was forced to figure it out on my own. As a teen it made sense to me to work in an industry that would fit my interests as well as afford me the knowledge and training to hone my craft while still taking home a paycheck every week. The earliest milestone for me was having my work shown in a gallery in San Francisco. Like most things in life that exhibition opportunity was presented as a result of personal relationships, it’s all about who you know. I am proud of the path I took but I imagine it might have been easier to break into the gallery system had I attended a known school like Yale.

Jud, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I am primarily A SCULPTOR. My WORK IS EXHIBITED WORLDWIDE and I WORK IN MYRIAD STYLES AND MATERIALS BUT GENERALLY GRAVITATE TOWARDS PERMANENT MATERIALS SUCH AS CAST BRONZE, STAINLESS STEEL, CERAMICS AND RESIN. I have BEEN AWARDED PUBLIC ART COMMISSIONS IN A NUMBER OF CITIES AROUND THE COUNTRY AND my work HAS BEEN IN MUSEUM SHOWS AND IS INCLUDED IN MANY IMPORTANT PRIVATE COLLECTIONS. IN ADDITION TO my SOLO PROJECTS I HAve WORKED AND COLLABORATED WITH LEGENDARY ARTISTS INCLUDING RALPH STEADMAN, PETER VOULKOS, RUTH ASAWA AND STEPHEN DESTABLER. I am ALSO THE CREATIVE DIRECTOR AND CO FOUNDER OF THE SPACE PROGRAM, A MULTI DISCIPLINARY ARTIST IN RESIDENCY PROGRAM IN SAN FRANCISCO. I LIVE IN SAN FRANCISCO WITH my BEAUTIFUL, BRILLIANT, HILARIOUS, VERY YOUNG WIFE AND our TWO AMAZING CHILDREN WHO ARE BETTER THAN ANY OTHER KIDS ALIVE OR DEAD.

What can society do to ensure an environment that’s helpful to artists and creatives?

I can think of a million ways to answer this question but I want to focus on public art commissions in America. I firmly believe that the systems we have in place in many municipalities do not serve the local arts communities. Most arts commissions are comprised of local government employees that do not have a lens into the larger conversations around current art trends and more importantly they do not award commissions to artists living in their own municipalities. I believe that each city/town should award 100% of it’s budget to artists living in those communities (where possible) this not only creates greater opportunities for local artists but it also gives each and every city/town it’s own voice/character and lends to a sense of unique place. This would also help to ensure that all of the works are fabricated locally which puts that budget directly back into the community it serves. It makes absolutely no sense to me to go visit a mid western city and see multi million dollar pieces created by some blue chip artist who’s perspective and inspiration is from where they live and not from the awarded city/town. I also think that every arts commission should be comprised of artists and arts professionals (gallery directors, museum curators) and should have term limits so that there is never favoritism or a singular vision.

Have any books or other resources had a big impact on you?

My whole life changed when I read ‘Big Sur and the Oranges of Hieronymus Bosch‘ by Henry Miller. There is a passage where he describes his mailman who for 2 years walks 1/2 mile each way to deliver Miller’s mail down his long driveway. Nearing the end of Miller’s stay in Big Sur the mailman works up the courage to tell Miller that he too is a writer to which Miller responds ‘No, you are a mailman’. Harsh? Yes. But for me it was the exact thing I needed to read to get me to quit my job and become a full time sculptor no matter the consequences.

Contact Info:

• Website: Judbergeron.com
• Instagram: @judbergeron
• Facebook: Jud Bergeron
• Twitter: @judbergeron
• Other: Spaceprogramsf.com

Image Credits
Shaun Roberts Kevin Twomey