Roberto Car­di­nale,

Pasatiempo - - Art In Re­view -

by Le Cor­bus­ier [1955] is one I just love. I started to make it once, but it was so for­eign to what I was used to, and I set it aside.

“Any­way, af­ter the monastery, I got my mas­ter’s in art at the Uni­ver­sity of North­ern Colorado. I re­ally got into three­d­i­men­sional work, which I was ex­hibit­ing while I was teach­ing high-school art in Cas­tle Rock. For years I fo­cused on metal work, carv­ing in wax and us­ing the lost-wax process.” He kept at this, mak­ing jew­elry from ar­chi­tec­tural cast forms, un­til tox­i­c­ity and carpal-tun­nel is­sues stim­u­lated a change in di­rec­tion in the mid-1980s. Car­di­nale went on to earn a Ph.D. in art ed­u­ca­tion from Ari­zona State Uni­ver­sity and to work as an art pro­fes­sor at Ohio State Uni­ver­sity and the Uni­ver­sity of Ari­zona. He served as di­rec­tor of the pro­gram in ar­ti­sanry at Bos­ton Uni­ver­sity and then was pres­i­dent of the San An­to­nio Art In­sti­tute.

“At San An­to­nio, we were do­ing a new build­ing. I had all these draw­ings, and I started cut­ting them up and draw­ing them. I would use pas­tel on the draw­ings, then I be­gan mak­ing pieces of wood based on those. When I started mak­ing the churches, I com­bined the color work I had been do­ing with the ar­chi­tec­tural draw­ings with the sur­faces on the churches. They got richer and richer, lay­ered, kind of like the work of Richard Diebenkorn, who’s one of my gods. Be­cause of my Catholic back­ground, I have this holy trin­ity of art: Matisse at the top and Diebenkorn and Mother­well are at the base. And Henry Moore is a fa­vorite sculp­tor.”

Car­di­nale with his 2001 paint­ed­pine model of The Pink Church Art Cen­ter; right, Mis­sion San Carlos Bor­romeo de Carmelo, 2010, painted pine with hard tile; 17 x 15 x 15 inches

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