Not all folk artist carvers fit neatly into the preconceived notion of a simple soul living on the fringes of society whittling out roughly realized renderings of farm animals or birds, and selling them from the front porch for next to nothing. Robert Wylie is an example of a sophisticated, modern professional man who makes highly stylized and finely rendered sculptures that would not be out of place in a fine art gallery, and yet he is a self-proclaimed folk artist largely based on the fact that he has received no formal art training. Proving that some people just come by it naturally. Here’s a biography of Wylie provided by Ingram Antiques of Toronto who carried his work until they closed a few years back.
“Born in Glasgow, Scotland, Wylie immigrated to Canada as a young man, yet has maintained his distinct accent. “It’s simply easier to talk like this, my tongue curves around the words better” he jokes.
Wylie started carving in the early eighties, and stresses that he never had any formal training in art whatsoever. Retired, with some time on his hands, he began whittling, thus creating wooden sculptures “by accident” in an effort to fill up the time it took to watch his wife Liz Sinclair’s kiln being fired (a process taking up to 14 hours). While both Robert and Liz were pleased with the results of his carvings, neither of them considered for a moment that this could become a serious occupation.
When the expenses of restoring and renovating an old stone farmhouse just north of Belleville kept mounting, it was time to take action. While reluctantly considering going to a sales job, or some other seemingly less interesting occupation, Wylie met with an old friend who encouraged him to start carving seriously – and he did.
His extensive repertoire includes primarily stylized and minimalist animals, graceful and elegant. Other works include religious themes such as angels, crosses, and Noah’s Ark, complete with 13 pairs of animals, as well as Noah and his wife. He prefers to carve in basswood, as it is relatively easy to work with and never cracks, and occasionally works in pine. On larger pieces, he uses a band saw to shape the blank piece of wood, and generally uses a knife and an extensive amount of rasp work to shape the final product. The finish is typically very smooth, highly polished, monochromatic, dark blue/black with the undercoat shining through.”
I have to admit that when I first encountered Wylie’s work, in spite of liking it, I had to get my head around considering it as folk art in spite of his total lack of training. This is based on the fact that his work is highly refined and polished, which implies “fine art” to me whatever the artist’s background. But does applying the term folk art to an artist’s output suggest that the work must contain a certain level of simplicity, or naiveite? After pondering it awhile I don’t think so. Grandma Moses work is very sophisticated but she is still considered to be the “Grandma” of all folk artists. I can think of others whose work seems too sophisticated to be considered folk art. And then there are also the trained artists who will occasionally, or exclusively paint in a “folk art style”. Paul Gaugin and Picasso for heaven’s sake. The lines get blurred, but in the end I think the only thing that matters is whether the work is genuine or not. We can talk about definitions until the cows come home, but don’t let that stop us from enjoying the work.
[Reference: Folk Art – Primitive and Naive Art in Canada, Black McKendry, and A Compendium of Canadian folk Artists, Kobayashi and Bird]