Large-scale tales: Blawnox-based sculptor tells a story with each piece |
Fox Chapel

Large-scale tales: Blawnox-based sculptor tells a story with each piece

Tribune-Review file
Paul Winnie, 52, of the Tonawanda Seneca Nation, visits the sculpture 'Point of View' of Seneca leader Guyasuta with George Washington atop of Mt. Washington. Winnie was the model that sculptor James West used to render Guyasuta and visited Pittsburgh to attend the dedication ceremony with others from the Seneca nation of Indians in 2006.
Dan Speicher | Tribune-Review
Sculptor James West of O'Hara Township and his sculpture of Benjamin Franklin, at his studio along the Allegheny River in Blawnox, Monday, July 03, 2017.
Dan Speicher | Tribune-Review
Sculptor James West of O'Hara Township talks about his journey from developer to sculptor, at his studio along the Allegheny River in Blawnox, Monday, July 03, 2017.
Dan Speicher | Tribune-Review
Sculptor James West of O'Hara Township poses for a portrait next to the full scale sculpture of Benjamin Franklin, at his studio along the Allegheny River in Blawnox, Monday, July 03, 2017.
Dan Speicher | Tribune-Review
Sculptor James West, of O'Hara Township, poses for a portrait next to the full scale sculpture of Benjamin Franklin, at his studio along the Allegheny River in Blawnox, Monday, July 03, 2017.
Marc Soracco
'The Bond' by James West in Philadelphia

James West is a local artist who most Pittsburghers only know through his most celebrated work, “Point of View,” a bronze sculpture of George Washington making peace with Seneca leader Guyasuta.

With the city of Pittsburgh as its dramatic backdrop, it’s a popular tourist attraction located at the head of Grandview Scenic Byways Park, opposite the corner of Grandview Avenue and Sweetbriar Street on Mt. Washington.

At 61, West shows no signs of slowing down since creating and installing the artwork in 2006. He just completed another large-scale commission, this time in Philadelphia.

Entitled “The Bond,” it is again a historically themed work featuring George Washington, this time shaking hands with Benjamin Franklin.

With the help of Philadelphia-area riggers and engineers, West installed the piece at the entrance to the Masonic Library and Museum of Pennsylvania, directly across from Philadelphia City Hall. The 9-foot-tall piece was commissioned by the Grand Lodge of Pennsylvania four years ago.

“Everything I do is about the story or the narrative,” West explains. “I like the back story. So, this piece is about the bond between two countries and three men.”

The story begins when Benjamin Franklin went to France as a diplomat and was influential in negotiating the involvement with the French in the American War of Independence.

During this time, George Washington was commander in chief of the Continental Army of the American Revolution. When the French Alliance sent their troops, they were led by the Marquis de Lafayette, a French aristocrat and military officer. Lafayette gifted George Washington a Masonic apron, which is on display inside the museum.

This large statue depicts Washington presenting that apron to Benjamin Franklin. The apron, says West, is what inspired his sculpture.

“One of the original masons who ran the Grand Lodge of Pennsylvania was Ben Franklin. So, I thought there’s the story,” he says. “You have the diplomat in Ben Frankiln, who went to France and negotiated their involvement. You have the first general of the continental army, George Washington. And then, without the French involvement, we’d lose. So the story represents three countries. But it is also about a bigger story. It’s about America. It’s about that reach and that friendship.”

West began working on the piece four years ago, but in the interim he was asked to create another piece for the interior of the museum, “Benjamin Franklin In The East,” which was placed a year ago.

“That’s the clay of him,” says West, pointing to a massive clay figure of Benjamin Franklin mounted halfway up a 22-foot wall inside an old barn that comprises West’s Blawnox studio.

West found the old barn in Washington County nine years ago and purchased it. He moved it to a site along the Allegheny River, just south of the Allegheny Boat Docks in Verona.

The 13-foot-tall clay effigy of Franklin is a rather unusual sight. Most sculptors who work in this figurative way don’t hold onto the clay master used in the casting process. But then again, West is anything but usual.

In his studio are chunks of the old Hulton Bridge that once stood upriver, demolished a year and half ago. To him, the twisted wreckage, in various states of rust and decay, represents the “cycle of life.”

West’s professional life has had its own twists. The Fox Chapel native began his career as a laborer in the construction division of his family’s business, Deerfield Construction. There he learned the real estate industry from the ground up, ultimately becoming a successful real estate developer.

But at the age of 38, he decided he wanted to pursue a career as a sculptor. And as it turns out, his experience working in development has paid off.

“Each project involves numerous meetings,” West says, “from consulting with historians through to foundries and rigging.”

To mount the nearly 2 ton bronze cast of “Benjamin Franklin In The East,” West had to work with structural engineers to devise a pedestal that was secured via steel struts that are mounted in the floor beneath the marble pedestal that serves as the sculpture’s base.

At 17 feet, including pedestal, West says, “He’s the biggest thing I’ve ever done. There were all kinds of logistics, but we got him in.”

There’s a compelling narrative to discover in each of James West’s sculptures.

“When I first meet a client I ask who do you want to read it? I want to look at that narrative and know who is reading it. I think when artists really get it right, it can be read at multiple levels.”

That same approach is what led to another project close to home. From the back of West’s studio, one can clearly see the southern tip of Sycamore Island. That is where his latest work, “Our Path,” will be inaugurated on Sept. 22.

Currently in production, the piece will be a steel canopy 4 feet wide, arching 13 feet high over a walking path. Commissioned by the Allegheny Land Trust, it will feature cut out shapes resembling plant life indigenous to the island. The island hosts a unique floodplain hardwood forest that is among the most rare plant community types globally.

“The laser cutouts represent the flora of this protected island. Natural light will go through the negative space of the cutouts and form positively on the earth, so it comes out as an arch on the ground as the seasons change,” West says

He likes the local connection the piece will have, and its back story as it relates to the plant life on the island.

Looking back on his first public sculpture, “Point of View,” West is quick to point out the story that inspired it as well.

“That story is not just about two historic figures,” he says. “It’s about how these two people fought on opposite sides in the French and Indian War, and how they put down their weapons and had conversation at council fire. It’s an incredible story. This was a time of war, when men had been killed on each side and they put their differences aside.”

About the unique eye-to-eye placement of these figures, West says, “They are encroaching on each other’s space. There’s a little bit of tension there. If you look at it really close, George Washington’s hand is on the outside of his sword. Not the inside. With Guyasuta’s tomahawk, the peace side is up, and the warhead is down. So, there’s a little bit of that going on, and that speaks to today. Maybe we have a disagreement, but maybe we can have a little dialogue.

“In my art, I don’t have answers, but I have a lot of questions,” West adds. “I hope when people look at it they see this dialogue.”

Kurt Shaw is the Tribune-Review art critic. Reach him at [email protected]

TribLIVE commenting policy

You are solely responsible for your comments and by using you agree to our Terms of Service.

We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.

While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.

We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers

We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.

We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.

We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.

We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.