WILLIAM BLOOMFIELD

William Bloomfield has been carving stone for more than 20 years. He has exhibited in museums, public spaces, galleries, and private exhibits throughout New England, New York, and internationally. In 2018 he received an art fellowship-residency in Mexico and was invited by the European Cultural Center to create an installation for the 2019 Venice-Biennale, considered by critics to be the most important art show in the world. Bill has studied at the Decordova Museum School, The Chautauqua Institution School of Art, The Vermont Carving Studio, and privately with well-respected sculptors and master carvers in Carrara, Italy. Bill served on the board and 5 years as president of New England Sculptors Association from 2011 to 2019.

Over the past 30 years, Bill founded and directed public policy centers Brandeis University and New England Medical Center, and a nonprofit consulting group. He currently consults with a select group of public/private-sector US/global leaders on youth, education, and community issues, including the arts. Bill holds a PhD from Brandeis University’s Heller School of Social Policy and Management. He is also a member of the Screen Actors Guild–American Federation of Television and Radio Artists and appears in films, plays, and other media.

He lives in Lexington, MA his wife Margery, a landscape designer, his son Ross, an aspiring film editor, and two Turkish Van cats who do whatever they want.

An essential element of my creative process is to let go of any preconceptions of what the raw stone might evolve into — no photos, models, or other visual examples are used. I first become very familiar with the stone itself; its surface characteristics, structural elements, shape, and composition. After a while (sometimes, a long while), possibilities float into my consciousness until I settle on an initial direction. Then I begin. The stone itself is the primary inspiration for what happens when I begin chiseling and filing. Most of the time, my initial vision and plans for the piece change many times before settling on a solid sculptural pathway. And at the end, I’m not always sure how a chunk of stone, millions of years old, has been transformed into art.