Masters of the Gourd Mask looks at two artist, Jane Boggs and David Sisk and their approach to creating gourd masks for high prices.
When you begin to sell your gourds and the ribbons and commissions come your way, then wanting to do gourds full time becomes an option. I have seen a few of my gourd friends succeed. You have to have a style that is unique and impressive. You also need to be able to create a product in large amounts.
In the professional world, your gourd has to tell a story to the viewer, or it is ignored. Art Shows and festivals offer you real competition. Your work usually doesn’t sell itself. It is up to the artist to convince the viewer the gourd is waiting for them to take it home. You may begin the conversation with a viewer with the question, what about this mask has caught your eye? Or begin by telling the viewer what is special about the mask. The seller must have a story ready to encourage the buyer to want to own that piece of art.
Master’s of the Gourd Mask
Here are two gourd mask makers at the top of their game. The price point for these masks is between the 3-$9,000. They know what sells and they create gourds for their market. So why create masks? I think it is all about the feathers!
Both artists have no formal art training and learned on their own. Jane lives near me in Cave Creek and spent some time talking to me about her exhibit this year. David does shows at galleries and museums all over the world and has even had a successful auction show.
Working with similar materials and creating their interpretation of this cultural art form, their work can give us some inspirational ideas to try on our own. Picasso once said that if you are going to steal ideas, steal them from the best! Let’s take a closer look and see how each artist creates their story and why they have all those feathers! Along the way, hopefully, you will be inspired.
Master’s of the Gourd Mask
David Sisk
David Sisk’s introduction to gourds was a serendipitous one. About 10 years ago a friend of his commented how people use to make vessels out of gourds. He often said to David “I’ve got a wood burner and shoe polish – come over and make a bowl.” He finally gave in. Having no background in art, David had no idea what to do with it until it cracked and told him it was to be a mask.
After a few more masks and throughout a couple of months of working continuously on gourds he bravely quit his job and signed up for art shows. Not a path I would recommend.
“When I started making masks, I made a conscious decision NOT to study the cultural significance mask design. It didn’t seem to be my place to be able to knock off someone else’s sacred designs.”
In Red Skye, he uses color to tell his story. Four pure colors in high contrast work with the feather colors to create a landscape from the green land to a red-orange sun ending in a sky blue edge.
“As far as inspiration goes, I’m inspired by everything I see. At art shows, the medium is unimportant. I see what other artists are capable of and are humbled…I’m forced to go home and do better after every show.” This is the greatest advantage of doing festivals and gourd shows.
Winged Chanter
In Winged Chanter everything is symmetrical. The colors are calm, and the feathers are mostly in their natural colors. Notice the antlers as embellishments.
“My approach to design is completely a result of my artistic limitations. If you look at 99% of my work, you’ll see that there isn’t any true “drawing” happening. The reason for this is simple. I can’t draw to save my life!” “Over the years, I’ve found pleasure in geometric designs, symmetry and have relied on those to create my work.”
The close-up of this mask face has simple symmetrical lines and the feathers on top are balanced by the horsehair on metal cones around the sides and bottom. The impact is from the colored feather at the top. The fine lines on the mask show refinement and expertise. He has worked around his inability to draw.
“To the artists just starting, don’t worry about what’s being done by others. Do what you do and try to do it well. Don’t judge yourself too harshly. Make the very best work you can and put it out there to see the reaction.”
Two Faced
This mask is different from his others. The face is longer and just divided in the center. The bright green catches my eye and I notice that the feathers are only on the top. All the colors are in contrast to each other suggesting a frantic look to me. This mask shape reminds me of African masks and I can imagine this mask being used in a storytelling dance. It does speak to me.
“One of the hardest things for me was finishing a piece and finding out that maybe it wasn’t my favorite mask. But when I hang it., I find that it spoke to someone. But you must stay true to form and let the gourd speak to you.”
Medicine Man
Again the feathers go around the mask but this time there is more pattern and color on the face and a few turquoise stones. Do you also see the porcupine quills on the bottom? All these repeating elements make the mask look fierce!”
I’ve been extremely fortunate to have my work accepted at some of the best shows in the country. I’ve sold work all over the world and have the support of some amazing galleries.
I hope to continue to create work that makes me happy and people will buy!”
David’s sense of design and style has quickly set him apart from other artists. His style is constantly changing and evolving as he finds new tools and supply sources. When mistakes happen, he turns them around and makes them work. This is a trait he shares with our next artist, Jane Boggs.
Master’s of the Gourd Mask
Jane Boggs
In the 1990s there were a few women in the Phoenix, Tucson, and the Cave Creek area who found each other through their choice of gourds as their medium. They often met and tried to teach each other what they knew. Jane Boggs was not new to art, but she was new to gourds. Her interest in Native American and African art directed her to the idea of mask making.
She knew she had found her area when the other ladies said they had no patience for all the feathers work she was showing them. But Jane loved them! When I asked her how many she has, she said she had nearly every kind . Her friends will tell you thousands!
She does have many friends and vendors who keep her in supply.
I found her this week at a large “under-the tent” Art Expo in Scottsdale. Artists work here in their booth area and sell work for over 3 months. Each of the gourd masks this year follows a cultural theme.
Like most full-time artists, she often follows a theme to inspire her choices of colors, embellishment, and story for the mask. Like David’s work, each speaks to a story she has in her mind. She is not reproducing a spiritual piece.
“Good Fortune”
The red color and the necklace set the Asian theme here. Notice that the color scheme is limited, and the blue feathers help move your eye around the piece. All of her feathers create a kind of a mandala around the head with neutral-colored feathers as filler. The necklace at the bottom reflects the theme and is a style trait in this group of masks.
This gourd shows beautiful chartreuse feathers from a friend who collects them from the cage of their pet macaw. In honor of the bird, she calls this one, “Macaw Talker”. The visitor gets to hear her story whenever they look at it. I like how the long earrings balance the heavy top.
“Mardi Gras”
Here the feathers are layered from small to large, the long ones last. There are more colors here and they are arranged in a flamboyant way reflecting the title theme.
Master’s of the Gourd Mask
Now how does she attach all these feathers?
A thick layer of air-drying clay is placed at the top. Then she has about 4-5 hours to patiently stick every feather in place. So she works with small areas starting at the bottom, lets it dry and then adds another part of clay and continues to the top layer. Imagine a table with many groups of feathers, going on one-by- one! Jane admits that some masks take as many as 60 hours to compete.
If you ever want to do a mask like hers, you will soon realize ,even at her prices, it is not enough! She tells me that this her time to zone out and she loves the feeling of accomplishment when she is done. I told you it was really all about the feather!!!
Imagine the time and planning that goes into each mask and why this one is a master ribbon winner. The detail is doubled everywhere from the patterns on the mask to the depth of the feathers.
After all that time and effort, I asked if she ever just wanted to keep it. “No, I want to get it sold and make another. “
This is her biggest show, she usually plans five to ten masks for the exhibit. Both these artists have to produce product.
Master’s of the Gourd Mask
Take Away Inspiration
She is selling in a booth, so she knows she has to offer other work at a lower price point. Here are two mask ideas, with a simple format that could inspire you.
They have no feathers. The mask is divided into thirds, with the middle section having a texture or pattern. Here she used a wood burned tangle pattern. They have one eye with a simple bead and twigs or twisted root for feathers. She also used just three colors. You could practice her clay technique with just one layer of feathers to see if you like the process.
Here’s another idea that would sell well.
It has a chunk of clay for the base. A heavy gauge wire has beads attached before the wire is twisted. This allows the mask to be slightly bent. What a fun piece for a desk!
David has no web site at this time .
Master’s of the Gourd Mask
Jane said she has met David and he told her he started out fearing other mask makers because they might steal his ideas. After looking at Jane’s work he said they both looked at the same thing differently.
Jane acknowledged that was what art was. Figuring out how to do it your way was the path to creativity and success. David and Jane relishes the failures, the challenges and the steps they have taken to find their own voice with the mask.
Jane often tells her students just to keep working on it and figure it out, then it is really your creation. When it speaks for you, it will speak to the viewer and that is when you make a sale. You just have to get good at it so the dollar sign is in front of four figures!
See her work at her web site.
Are you inspired, but need more direction then check out Bonnie Gibson’s tutorial. https://www.bonniegibsonart.com/tutorial-packets
Mask Making Techniques*
6 pages (1 color page) $5
This packet addresses the use of embellishments and how to attach and incorporate them into your mask design. The packet includes tips for using horsehair, metal cones, feathers, antlers, and African quills, and suggests other materials that may be used to decorate a gourd mask. You saw many of these things on David’s masks.
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