Sandy Huse

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The Faberge Incident, 2018 Mahogony, Fir, Plywood, Cast Iron Skillet, Wire, Paint 6.25"X 8.25x 10" © Sandy Huse
Artifact No. 5: Rock, Paper, Scissors, 2018 Paper Clay, Newspaper, Magnifying Glass, Scissors, Paint 10"X 11"X 7" © Sandy Huse
Artifact No. 4: Phrenological, 2018 Paper Clay, Watercolor Paper, Glass Eyes, Candlestick, Wood, Archival Ink, Paint 13"X 6.5"X 7" © Sandy Huse
Artifact No. 3: Ballpeen, 2011 Oak, Hammer Head, Found Metal, Magnet 2" X 5" X 12" Inches © Sandy Huse 2011
Artifact No 2: Slotted Spoon, 2011 Bone, Tooth, Teak, Walnut 10" X 12" X 2" Inches © Sandy Huse 2011
Artifact No. 1: Whisk, 2011 Compressed Wood, Palm Frond 12" X 6" X 2" Inches © Sandy Huse 2011
The Bearded Lady Rocks Her New Cloche (automaton), 2017 Oak, Walnut, Dowel, Wooden Beads, Wire, Pine Cone, Paint 7.75"X 8"X 8.5" © Sandy Huse 2017
Bee Cup (automaton), 2017 Oak, Ash, Padauk, Spalted Birch, Bamboo, Dowel, Wooden Bead, Polymer Clay, Wire 10"X 5"X 9" © Sandy Huse 2017
Stuck A Feather In Her Cap And Called It Macaroni (automaton), 2017 Oak, Fir, Polymer Clay, Wooden Beads, Dowel, Wire 8.5"X 8.5"X 5.5" © Sandy Huse 2017
Odd Utensils: The Kracken, 2017 Fir, Carob, Walnut, Dowel, Wooden Bead, Fire, Polychrome 8.5"X 12.25"X 12" © Sandy Huse
Too Late, 2017 Wood, Wire, Plastic Figure, Fire, Paint 3"X 7"X 10" © Sandy Huse 2017
Escape From Area 51, 2017 Bowling Ball, Mixed Woods, Wire, Glass, Polymer Clay, Metal Leaf, Paint 24"X 13"X 24" © Sandy Huse 2017
On the Map Series #1: Safe Harbor, 2016 Magnolia, Copper, Wire, Polymer Clay, Fire, Paint 18"X 12" Diameter © Sandy Huse 2016
On the Map Series #2: River Path, 2016 Wood, Wire, Glass, Fire, Paint 8"X 10"X 10" © Sandy Huse 2016
On the Map Series #3: Caja de Pandora, 2016 Gourd, Wood, Crucifix, Bones, Polymer Clay, Gold Leaf, Fire, Paint 14"X 14"X 14" © Sandy Huse 2016
On the Map Series #4: We Are Legion, 2016 Bowling Ball, Gourd, Wood, Wire, Polymer Clay, Fire, Gold Leaf, Paint 14"X 14"X 8" © Sandy Huse 2016
Where They Came From, How They Got Here, 2016 Bowling Ball, Polymer Clay, Wire, Glass 13 X 10 X 15 Inches © Sandy Huse 2016
Where They Came From, How They Got Here (detail), 2016 Bowling Ball, Polymer Clay, Wire, Glass 13 X 10 X 15 Inches © Sandy Huse 2016
Fun House, 2016 Oak, Various Wires, Plastic Figures, Paint 10 X 8 X 9 Inches © Sandy Huse 2016
Tribe of Terrier, 2016 Ash, Cocobolo, Glass, Leather, Fire, Paint 6" X 9" X 14" Inches © Sandy Huse 2016
Tribe of Terrier (detail), 2016 Ash, Cocobolo, Glass, Leather, Fire, Paint 9" X 6" X 14" Inches © Sandy Huse 2016
Moonhowl for Steverino, 2016 Ash, Padauk, Fire, Paint 7 Inches X 6 Inches X 6 Inches Inches © Sandy Huse 2016
Family Portrait (with their dog Spot) in Kodachrome, 2015 Various Woods, Wire, Fimo, Paint 8" X 12" X 3" Inches © Sandy Huse 2015
Family Portrait (with their dog Spot) in Kodachrome (detail), 2015 © Sandy Huse 2015
A Dream in the Garden of Yang-Na (view 1), 2015 Ash, Compressed Wood, Wooden Beads, Jute, Fire, Paint 6" X 7" X 4" Inches © Sandy Huse 2015
Deconstruction Series #1: Steely Eye, 2014 Olive, Stone, Wire, Ball Bearing 10" X 8" X 8" Inches © Sandy Huse 2014
Deconstruction Series #2: Centrifugal, 2014 Olive, Wire, Ball Bearings 10" X 9" X 5" Inches © Sandy Huse 2014
Deconstruction Series #3: FlyAway, 2014 Ash Burl, Wire 3" X 4" X 4" Inches © Sandy Huse 2014
Fishy Noir, 2012 Carob, Mixed Woods, Wire, Paper, Paint 24"X 30"X 36" © Sandy Huse 2012
Fishy Noir (detail), 2012 Wood, Wire, Acrylic Medium, Paper © Sandy Huse 2012
Fishy Noir (detail), 2012 Wood, Wire, Acrylic Medium, Paper © Sandy Huse 2012
Quick Facts
Works in
Los Angeles
Artist Statement

I am a wood-centric multi-material sculptor.  I create multi-axis wood forms that I embellish with other materials such as glass, metal, polymer clay & the odd bowling ball.  I define my sculpture as "semi-abstract narrative art" where what you see is story or title-driven.  Even such simple items as bowls are planned & executed so as to have the viewer experience "bowl" in a way that is more than a container for fruit or cereal.

My main tool of choice in this process is the lathe, where I use multi-axis techniques to make shapes that don't occur with traditional turning practices...the drama of wood chips flying off a chunk of wood held precariously on the lathe is intoxicating to me.  In addition, I almost always use a flame process, whether it's the subtlety of pyrography or the brute force of a propane torch before adding other materials & layers of color.

Wood's organic nature can add an element of surprise & opportunity.  Despite all planning, cracks may open up unexpectedly, bark chips off, or an inclusion appears when the wood is carved.  All of these force me to adapt continually & to see possibilities in potential disaster.  Since nearly 100% of the wood I use is green (freshly cut) & local, I have plenty of opportunity to play with those possibilities since green wood will "move" until it stabilizes due to drying.  Also, my practice is environmentally sound as this wood is normally relegated to the dump as garbage.

Finally, I believe that art should be easily accessible to anyone who has an interest.  To that end, I teach classes & participate in public demonstrations & community outreach projects in the Los Angeles area.  No artist ever exists in a vacuum & it is my pleasure to share what I have learned from my guides.

Please visit my website for further information:


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