Carol Savid

I grew up in the suburbs of New York City. As a child, I remember hours of solitude drawing and painting. Art and creativity brought me an intangible inner joy that I would pursue for the rest of my life. By high school, I was working summers doing charcoal drawings and layouts at a large commercial advertising firm in Manhattan. Later, I attended the Hartford School of Art, studied the classics, drawing and painting and received a Bachelor of Fine Art with a major in sculpture.
After college, I did commission work, mostly sculpture, which I also exhibited in galleries in New York City. Five years later, I spent a year traveling in South America. There, I experienced the basic existence of the campesinos, and it changed me. I wanted to keep this simple spirit of contentment and serenity I felt there when I returned to the feverish pace of American culture. I settled in New Mexico: the pace was definitely less hectic than Manhattan, and I discovered my excitement with light.
I pioneered the use of dichroic light filters in the field of art and design more than 20 years ago – bridging space-age technology and art with my limited edition tableware that took colored light and bent, bounced and reflected it. The work was sold through my Taos gallery and the World Trade Center in Dallas, Texas. It eventually gained international attention as numerous retail and art magazines published photos of these glass pieces.
While the sales of these functional works increased and collectors took note, I simultaneously continued to create one-of-a-kind sculptures produced solely for their beauty and visual enjoyment. It was these pieces that reflected self exploration and were sold through Elaine Horwich, my mentor and an icon of southwestern art. For decades my work flourished: there were studio assistants and gallery representatives.
But the desire for artistic growth moved me to minimize production work and begin exploring new directions in my Taos studio and sculpture garden. My latest work has rekindled the childhood joy that long ago tugged at me to create. Light excites me. It is an ethereal matter that gives life and reveals life. And for 25 years, my art has used glass to express this enthusiasm for light. My most recent work uses glass and water – supported by stone and steel – to capture and exhibit light.
My work, at its core, strives to recreate light by passing it through the mediums of glass and water so that the viewer can observe and experience this ephemeral matter in a stationary existence. My pieces are gentle and relaxing. They entice the viewer to come closer and experience them from the inside out. My work is not a statement. It cannot be intellectualized. Rather, it is an invitation to feel, to be gently touched and calmed.
The light is to be observed; the water to be heard. The art work must be experienced, much the same way one observes a cascade of water in nature: it invites and calms, unconsciously moving the viewer into a state of tranquility. This, in the end, is why I create art, to move both myself and the viewer into another state of mind.

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