Gary Stevens
Like many others of a generation before, Gary developed his work in relative isolation. He had already been working with wood for more than twenty years, and selling his turnings and sculpted vessels for several years when he met Mel and Mark Lindquist. They were brought together by their love of wood and their interest in technical innovation, and worked together periodically over several years. “I first met Mel in 1996 when he was in his mid-80s,” Gary explains. “We hit it off right off the bat. I had tremendous respect for him, not only for what he had accomplished, but also as a person.” Because we know how much his own grandfather meant to Gary, it is a measure of profound respect when he says,”Mel was like another grandfather to me. When we were working together in the studio he could be a little rough around the edges. He would use some old-time saying to convey a thought or an idea. It would usually make me laugh, but I know exactly what he meant. He would smile and nod his head. I cherish the time we got to spend together.”

Gary also acknowledges that Mark has a had a strong influence on his later work. “Mark really worked with me on sculpture. He made me go to the library and study artists like Jean Arp, Max Bill, Brancusi, and others. Then we would have discussions about the artists and their work. This dialogue really helped me focus on my sculptural forms and the direction that I have taken.”

Gary Stevens has found a remarkable balance in his life. He makes it clear that what he calls his “day job” is as much a part of who he is as anything else, but it is made even more meaningful when it is measured against his other life as an artist. “For me working in the studio is a safe refuge from high stress. I’m still excited every time I start a new piece—the possibilities seem endless to me.”
Terry Martin


Mel Lindquist (left), Gary Stevens (Center), and Mark Lindquist (right), working at Lindquist Studios during Gary Steven's assistantship with the Lindquists, circa 1998, 1999