Glenn Hastings: Carving his own path

You discovered your love for stone sculpting in 2017 when South Australian sculptor Silvio Apponyi invited you to try it – what was it about that experience that lit the spark in you? 

I was attracted to the beauty of the stone, the amazing artists and the beautiful forms taking shape around me. When I was given the opportunity to give it a try, the goggles, mask and earmuffs blocked out the noise of the world. My world reduced to a small patch of stone I was sanding with a machine. I found a flow state, it was meditative, and I was hooked.

How easy is it to source stone for your sculptures? 

Sourcing stone has some challenges, but I’ve been very fortunate that my mentor Silvio Apponyi has been very generous with stone and knowledge of how to find stone. Logistics can be the big challenge. Moving larger pieces of stone takes specialised equipment and knowledge to operate safely.

What’s the most important piece of advice Silvio shared with you? 

So many to choose from as Silvio’s been incredibly generous with his time and knowledge, however one stands out that I apply in every piece I make. He told me sculpting is about making a series of decisions like where to cut and how deep. Sometimes you make the right decision and sometimes you’re wrong, but all the decisions need to be made to get to a finished piece. Learning from mistakes improves your ability to make the right decision more often. There’s no short cut, do the work.

There’s not a lot of room for error with sculpting – one wrong move is a permanent one – how to you cope with that level of pressure?

I accept the result is only partially in my control and that errors are part of the journey. If a form I was working for is no longer possible due to an error or a fault in the stone, I reassess, and sometimes the result is better than it would’ve been previously.

A sculpture can be interpreted in many ways depending on the angle the viewer approaches it – how much do you enjoy playing with perception through your sculptures? 

I’m drawn to abstract forms and like to explore mathematical concepts in 3D, so my work is very open to interpretation. I enjoy hearing what other people see in my work and intentionally incorporate features that are visible from different angles.

You say you’ve taken a more disciplined approach to sculpting over the last few years – how do you apply and maintain that discipline as a professional artist?

I’m intentional about making time for art. I prioritise time blocks in my calendar to create but also to enjoy the art of others. I came to realise a few years back how important art is to my mental health.

How much thinking goes into a design before you bring out the tools? 

I spend a lot of time thinking (daydreaming) about art, often when I should be thinking about other things. Sometimes I find a piece of stone to match an idea and sometimes the piece of stone gives me an idea. Sometimes I can see the form inside the rough stone, however the finished form is often significantly different to the original idea.

Two weeks isn’t a lot of time to complete a sculpture – or is it?  What pace do you prefer to work at? 

Working with stone and machinery takes its toll on my body and I need to manage fatigue and muscle soreness. Due to the location and logistical challenges, I will only work with stone that is a manageable size to pack up each night.

Looking more broadly at the arts, why does creativity matter in the world we live in? 

I believe art, as one expression of creativity, enriches the human experience and makes the world a more beautiful place. It encourages people to think about different perspectives and, for people like me, it’s essential for wellbeing.

Which artwork – across all artforms – do you wish you created and why? 

I don't think I’ve ever wished that I’d created another artist’s piece but there are many pieces I resonate with deeply. 'The View 2’ by Karin Van Ommersen, installed at Ukaria Cultural Centre in Mount Barker, is one such piece that I am drawn to repeatedly. I regularly visit this piece and numerous others.

Members of the community interested in seeing what Glenn creates during his two-week residency are welcome to drop by for a chat. Glenn will be at The Stable from Wednesday 24 September until Sunday 28 September between 10am and 4pm*.

*Hours may be subject to change.