from the artist studio
stepping into the book when you’re working in a space like this. It feels like you really have to raise your own bar to participate at this level. Just the space itself––the architecture and the craftsmanship that you’re observing every day while you work is deeply inspiring.” The architecture and craftsmanship Stuart is referring to came from the hands of Gutzon Borglum, the early 1900s sculptor most famous for the larger-than-life Mount Rushmore. Scaling new heights The story behind this property begins in 1910 when Borglum reportedly bor- rowed $40,000 (which would equate to approximately $1.2M today) from one of his clients to buy 500 acres in Stamford. In 1911, he began building his studio, employing Italian stone masons who lived on the property for months carving local area granite and limestone boulders into what would become the structure of the studio. “The history here alone was worth more than the price of the whole property,” Stuart said. “This place should be a museum. The fact that it has a contemporary home on the river, Japanese gardens and several other buildings set up like a com- pound was just a bonus.” Over the course of the century, the property has been occupied by several other prominent artists including cartoonist Mort Walker, widely known for his newspaper comic strip “Beetle Bailey”. This rich story, and perhaps the energy, of the space has not only inspired Stuart to dive head first into the history of the property and artists who came before him, but also scale new heights with his work. “I think the scale of this building has me inspired to work larger,” he said. “It’s interesting, Borglum’s second wife was an Egyptologist and I read a quote that she impressed upon him the emotional value of volume––the
Interestingly, although I really love modernism and modern architecture, I also have a love for the Classical past. This build- ing has elements of Tudor Gothic architecture. I love the strength that comes from that diversity––when you combine the old and the new. Being in this space, I’m starting to see the stone arches of the windows and doorways appearing in some of the restaurant paintings. There is also an epic
simplicity to the architec- tural design here. I think subliminally––and hope- fully–– it comes through my aesthetic voice.” Aside from influencing his aesthet - ic voice and having more space to explore scale, Stuart’s new home and studio have also paved the way for
A conversation with stuart yankell Stuart Yankell's studio and gallery in Stamford, CT
Borglum working on a large-scale sculpture in the studio.
fact that scale and art add a certain energy that nothing else does. As a result, he ended up doing enormous bronzes and then sculpting moun- tains. In the back of my mind, I just keep thinking I have to start working much larger. But the Celebration of Fine Art and its collectors with larger homes have really allowed me to expand my scale over the years as well. It’s all sort of been unfolding in tandem.” Having more space has also afforded Stuart the opportu- nity to observe all of his work together, which has proven an invaluable part of his process and the growth of his work. “The relativity of looking at pieces together enables them to feed off one another,” he said. wide open space. It allows the work to build upon each other. And of course, at the Celebration you have another 99 artists that you’re subconsciously working with and that brings in the experience of the ‘innovation hub’.” Admittedly, Stuart wasn’t always fully bought-in to the idea that an artist’s locale would have that much influ - ence over their work. But looking back over his body of work, he’s shifted his thinking. “That’s what I love about the Celebration as well––I have a Drawing inspiration from the environment “Having taught art history over the years, I would always hear that Van Gogh painted in Southern France and his palette changed,” he said. “I always thought it was somewhat fantasized, but I have noticed being in Scottsdale now 10 years, my palette definitely seems to have taken on some of the desert harmonies of colors. I have noticed that evolution in my work.
I t’s long been said that we are prod- ucts of our environment. Certainly, the company we keep has a profound impact on our thoughts, beliefs and behaviors. But so too do the physical spaces we regularly inhabit. Sometimes these impacts occur at the subconscious level and other times they are immediately obvious. Just look at most any architect’s or artist’s body of work and you’re likely to see the influences of their environ - ment evidenced in the color choices, scale, subject matter, materials and
line work. And this certainly is true for artist Stuart Yankell. Stuart is no stranger to purposefully immersing himself in environments that allow him to accurately capture the energy of the local culture. In fact, he has painted on location in more than a dozen countries, drawing inspi- ration from the rich stories unfolding before his eyes. The kinetic energy of the mise en scène has imprinted on his work, not only through the stories he chooses to portray, but also the way in which he expresses them.
But, over the years, he’s also come to realize the subliminal influence various environments have had on his work as well. Celebrating the energy of life Stuart’s work is highly recognizable–– characterized by its rhythmic and energetic, yet soul-soothing quality that seemingly invites the viewer in to celebrate the energy of life through themes that range from dance and nightlife to music, sports and pure ab- straction. And while his artistic thesis has remained rooted in celebrating life, his work has certainly shifted over the years based on his own life experi- ences and his environment. This became more appar- ent when Stuart and his wife MaryEllen Velahos moved from Pennsylvania to their new home in Stamford, Connecticut last summer. The property, which also houses Stuart’s art studio and gallery has a rich history and a rather famous trail of artists who’ve lived there before him. “It feels like I have the wind at my back here,” he said. “I had been pretty steeped in art histo- ry, but you almost feel like you’re
"Cafe Splendor" 40" x 60"
him to fulfill another dream: owning his own gallery. Since moving into the studio, Stuart has hosted several gal- lery openings featuring the legacy of his family’s work (his, his father’s and his godfather’s art). "When my parents saw me throw my whole career into the arts, it was a bit disconcerting when I was young,” he said. “But for them to see how I’ve thrived, I think it’s a real joy for them. My dad has come to the exhibits that we’ve had and he’s pretty humble about his own work because he’s a retired Penn Dental research professor by trade. But his sculpture is iconic and sublime, and I love the sense of joy that I see in him having so many people appreciate his work as well. And for him to see the family legacy story coming to fruition in this historic building is an epiphany.”
Watch Stuart's interview here.
"Global Rhythms" 30" x 48"
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Issue 1 | Summer 2023
Issue 1 | Summer 2023
Page 13
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