Ron Pascho
NWDC is pleased to share the art and ideas of Ron Pascho in the latest NWDC Artist Interview.
Ron Pascho works both sides of the art fence, making jewelry and small sculptures inspired by tribal art, and being an active part of that seemingly invisible web of organizations that support the arts. Metalsmithing has been his passion since 1991, and he believes folk art is his strongest inspiration. Travels to the Far East and Southeast Asia have taught Ron that folk art has a quality beyond its material value. Despite its simplicity, this art embodies all the beauty we often associate with precious pieces. In his career as a research microbiologist, Ron focused on precision, reproducibility, and meticulous attention to detail. He really can’t escape that part of his life, so it shouldn’t be a surprise that he may use many of the precise techniques of jewelry fabrication, but still strive to capture some of the character of folk art. That other, supportive, side of Ron's art life has been enriched by experiences supporting the Boards of the Seattle Metals Guild and Northwest Designer Craftartists. As far as his art life is concerned, Ron values both equally.
How were you introduced to art?
Thinking back, my introduction to art was a slow process that sort of crept into my life. I was not blessed with being brought up in an artistic family. In fact, I can say that there was just about zero encouragement in our family for me to appreciate the arts. Regardless, by the time I entered college, that invisible force had convinced me that I should major in art. That changed, however, with the later realization that I might need a job...but, the artistic hook had been set.
Where do you find inspiration when creating new work?
Inspiration is a murky topic that can be rooted in almost anything. For me, one surefire route to inspiration hinges on luck...to be lucky enough to take a workshop with an instructor who energizes students through their teaching style. It doesn’t always happen.
In addition to workshops, art books and magazines open a door to other artists' work, some of which can get me thinking about new work.
What do you consider your greatest artistic achievement
My greatest artistic achievement probably isn't on the technical end, but rather with my active support of the missions of local art groups, to include both the Seattle Metals Guild, and, of course, Northwest Designer Craftartists.
Ron Pascho, Amuleta I, Sterling silver, cotton and wool thread, coin, amulets fabricated from sterling silver, copper, rawhide, bone, and other repurposed materials. | Ron Pascho, Rialto Reality, Sterling silver, brass, electroformed copper, African beads of recycled glass.
What is the quality you most like in an artist?
Hmmm....I guess just about everything. Most importantly, I like that artists are a little off-center with regard to the ways they look at life. I must also confess there is nothing more enjoyable for me than being in an artists' home....better than any candy store.
Which living artist do you most admire?
My admiration of any living artist is rooted in that instant, unexplainable stimulus their work brings to my creativity. It is beyond me to explain what the heck that quality is all about, other than it is a visceral reaction to something beyond the artist’s medium or worldly outlook. So, several living artists fit the bill for me, but if I were to single one out today, it would be Mort Golub. Like myself, he is a collector of tribal art. But, he is also an outsider artist who has some kind of inherent ability to use simple found objects to create sculptures informed by the esthetics of the tribal object.
If you could change one thing about yourself, what would it be?
This is a wonderful question that is really is kind of terrifying. What one thing could I change, or maybe better, should I change? For this interview, I'll just say "eat less pizza," and save the rest for another time.
What is your most treasured possession?
Being alive comes to mind, but that is a no-brainer for most humans. Right now I'm struggling to come up with that one thing I possess that could be considered a treasure...it is almost impossible for someone such as myself who collects "things" to narrow the list down to one treasured possession. But, in the spirit of cooperation, I will select from my collection a Sumarian bone amulet of a ram (ca. 3200-2900 BC). It is an abstract form less than 2 inches long. Despite its small size, it has a hold on me. I must confess that I purchased it with the intent of using it in a piece of jewelry, but almost immediately decided it was going nowhere.
Who has had a significant influence over your work?
I think the artists that we credit as defining the Northwest jewelry style had a significant influence on the path of my work. In saying that, I think of Ron Ho, Ramona Solberg, Kiff Slemmons and Laurie Hall. I'm still amazed that I had the privilege to become friends with most of them. My list could easily be extended to also include several Mexican jewelry artists, as well as many other local metalsmiths....with a special shout-out to NWDC member Virginia Causey, who taught a bead workshop 30+ years ago that really boosted my interest in metalsmithing.
Ron Pascho, Kenmorian Protest Figure, Electroplated copper on Redwoood, bone, bullet casing, etched copper, glass, zipper, violin tuning pegs, chemical patina. Base: Remnants of vintage toy car, cement, iron filings. | Ron Pascho, Talisman for the Ant Bear, 14K yellow gold, sterling silver, bone.
How has your studio practice changed?
My studio was in the basement of my house, from which, I have moved and lost my workspace. I hope to regain that studio and restart some "studio practice."
What is your idea of perfect happiness?
A finished piece of art that I really like, and a good martini.
