We recently connected with Harry Mcdaniel and have shared our conversation below.

Harry, appreciate you joining us today. Did you always know you wanted to pursue a creative or artistic career? When did you first know?

From early childhood I enjoyed making things. My interests progressed from bike ramps, go-carts, and tree forts to more aesthetically-oriented activities, like leatherwork, weaving, and instrument-making. I took standard art classes through high school and developed some drawing and painting skills, but did not really think of myself as an artist. I often had a few art projects in the works, but, as I explored ideas, materials, and techniques, I didn’t think of it as a serious pursuit. Then, in my mid-twenties, I took an oil painting class at a community art school in New Haven, CT and found it deeply satisfying. I took another, and then a sculpture class. In the midst of those classes, I saw a newspaper listing for a public art competition in Stamford, CT. I had been intrigued by outdoor sculpture for as long as I could remember, so I decided to apply. I spent a week immersed in developing designs and creating three maquettes to submit. At the end of that week, I realized that I had a lot of passion for that work and I wanted to continue in a serious way. (None of my proposals were selected for the commission, but becoming clear about the depth of my interest in pursuing artwork as a career path was empowering and rewarding in itself.)

Harry, 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?

For a few years, in my mid-twenties, I oscillated between painting and sculpture. I loved both, but realized I was spreading myself too thin. I felt that I had more of a unique ability in sculpture, so I chose to go in that direction. I had done a lot of woodworking at that point, so wood was my primary medium in the early part of my career. At that time, I simultaneously explored message-based projects and abstract designs. I knew that I wanted to make outdoor sculptures, but it took me a few years to find my way to the techniques and tools for that sort of work. After attending a workshop on making concrete sculptures, I began working with concrete for my first outdoor sculptures. From there, I moved on to metal fabrication. Working in metal has opened doors to many public art projects over the last twenty-five years.

My work has spanned a diverse range of materials, style, technique, and content. My sculptures have ranged from an agriculture-inspired suspended sculpture to a 30′ tall double-spiral suggestive of a jet engine. Many of my sculptures have been wind-driven, kinetic projects. I am continually drawn to new challenges and opportunities to experiment. The impetus of many of my sculpture designs involves a combination of geometric forms and plant or animal forms. There is a slightly uneasy fit between the two which can be surprising, and exciting. The sense of order within geometric forms contrasts with the malleability and transience of living forms.

As a sculpture takes form, there is a moment in the process when the design begins to transcend the materials. A sense of flexibility, movement, or softness inhabits an assembly of metal or wood. Something in the graceful curves, or the proportions and relationships between parts, suggests the presence of a living force. As I work the rigid material, one part of my brain becomes enticed by the illusion created in another part of my brain. I love those moments. This is when I know the sculpture is beginning to work.

Throughout my career, I have enjoyed creating visually-engaging, abstract works, but I have also felt compelled to explore social, psychological, and political issues through my sculptures. The former approach comes fairly easily to me; the latter can be like pulling teeth. Creating meaningful work, without falling into a depressive cloud of doom, or a sappy, sentimental expression of positivity is challenging. Generally, I would like for my work to be uplifting or enlightening in some sense. The world doesn’t particularly need more doom. Part of the reason that creating public art is so appealing to me is that a visually-engaging, abstract sculpture can take on social significance beyond decoration. It can offer a small uplifting moment to anyone who pauses to explore it.

Are there any resources you wish you knew about earlier in your creative journey?

After struggling to survive as an artist for decades, and gradually seeing my economic situation become more stable, I can see now that, in the early stages of my career, I missed an opportunity to make my path slightly easier–I could have reached out more to older artists. At the time, I thought I would be bothering them, which is probably true in some cases, but now, I realize that many older artists are happy to share thoughts and suggestions to help make a younger artist’s path a little easier.

Is there something you think non-creatives will struggle to understand about your journey as a creative? Maybe you can provide some insight – you never know who might benefit from the enlightenment.

The use of the word “creatives” to refer to artists always bothers me. It suggests that the world is divided into creative people and non-creative people. In fact, we all exhibit some degree of creativity in our lives, whether it is conspicuous and performative or quietly internal. Yes, some people are hyper-creative, but there is room for creativity in every aspect of life. Exercising and exploring one’s creativity builds a fuller, more satisfying life. An accountant exploring innovative ways to layout a spreadsheet is using the creative parts of their brain. A cashier experimenting with different ways of engaging in conversation with customers is using the creative parts of their brain. Many people have creative hobbies which may never show up in a museum or concert hall, but those pursuits allow meditative time, a feeling of control and productivity, and, in some cases, healing. We all need to feel safe in allowing our inquisitive, exploratory, experimental, and expressive instincts emerge from time to time.

Contact Info:

• Website: https://HarryMcDaniel.com
• Instagram: https://www.instagram.com/harry_mcdaniel_sculptor/
• Facebook: https://www.facebook.com/HarryMcDanielSculptor/
• Youtube: https://www.youtube.com/@SculptorHM
• Other: https://sculpture.org/members/public_profile.asp?id=64572543

Image Credits

All photos by Harry McDaniel