D I S T I N C T LY M O N TA N A • S P R I N G 2 0 1 6
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molten metal using different techniques to
create high detail areas and rough earthy
edges, keeping in mind plenty of negative
space. After cooling, the piece is cleaned
and inspected and ready for a color patina.
ink of it as rusting the metal using vari-
ous chemicals and a blow torch to create
rich, colors that complement the textures.
I try to use frames from the 1800s to add
another element of story and geometric
shape that allows the eye to rest while
viewing.
THIS SEEMS LIKE QUITE A UNIQUE ART
FORM, YET IT FEELS LIKE THERE IS A VAGUE
HISTORICAL PRECEDENT FOR THIS ART. AM I
ONTO SOMETHING?
Yes, my hope is that the piece feels time-
less, that it could have been found in an
archeological dig. I was a consultant for Na-
tional Geographic for many years so history
and science play a leading role in my work.
YOUR CHOICE OF SUBJECT FOR SPLASH
BRONZES IS PRIMARILY WILDLIFE.
WHY IS THAT?
I'm a product of my environment I
suppose. Living in Montana and growing
up on stories of five generations of family
members has certainly influenced the
topics of my work. I believe strongly in
preserving and enjoying all the wild places
I have known in my life.
WHAT IS A TYPICAL WORKDAY LIKE IN YOUR
STUDIO?
Growing up on a small Montana
ranch, the days started early. I am usually
in the studio around 6 a.m. with a large
cup of coffee and loud country or rock on
the radio. It is my "happy place," where
other artists and friends drop in all day
long. Since sketching is so integral to any
artist, I spend most mornings working
out details of upcoming commissions and
new ideas, while the metal is coming up
I'm asking the metal to do something it really doesn't want to do...
Watch Chip work with
metal:
www.distinctlymontana.com/chip162
DISTINCTLY MONTANA | DIGITAL
River Spirits
Wishful Thinking
