Post by sandi66 on Oct 19, 2007 6:56:57 GMT -5
Portrait of a mason and artist
By Brett Martin
Bill Richardson Sr. knows stone. From "master mason extraordinaire" to renowned sculptor, successful business owner to respected teacher, he's made a life — and helped create the Las Vegas-area landscape — by working with stone.
"Anything involving stone, I enjoy working with," Richardson said. "It's been a good trade."
While Richardson is quick to say that the stone industry has been good to him, he's also given plenty back. He introduced his sons to the industry — both of whom are now master masons — and has trained hundreds of others. He's also a fierce advocate for professionalism and quality workmanship in the art of laying stone.
Photo courtesy of Carl Neitzert
Now, in his fifth decade of working with stone, Richardson's interests have evolved from laying stone to carving it. He's become an accomplished sculptor whose works are featured in the city hall of his hometown, Henderson, Nev., and in the Southern Nevada Veterans Memorial Cemetery in Boulder City, Nev.
Heart of an Artist
Even when Richardson was a bricklayer, well before he started working with stone, he exhibited artistic qualities.
"He's always been artistic," said his wife, Virginia Richardson. She said sculpting hasn't changed his blue-collar roots, joking that, "He looks more like a bricklayer than an artist."
With no formal training, Richardson doesn't sketch out his ideas or make models or prototypes before sculpting. "If I did all of that, I'd be tired by the time it came to carving," he said. Instead, he takes some measurements, then starts chiseling.
"I see what I want to do, and I just do it on the stone," Richardson explained. "It seems to work well for me."
Photo courtesy of Bill Richardson
While his approach may be unconventional, it's proven successful. Not only has he earned the praise of his peers, he won the Craft Award from the International Masonry Institute (IMI) in Annapolis, Md., in 2003 for a series of sculptures, including his first piece, a bust of a Native American.
"I'm just amazed at what he's done," said Matthew Redabaugh, special projects coordinator for the IMI, who gave Richardson his only training — a four-hour class. "There's a lot of talent there. Raw talent."
Redabaugh — also an IMI Craft Award winner — is impressed with Richardson's desire to continually challenge himself. For example, Richardson spent nearly 1,000 hours on his "Anatomy Man" sculpture, which involved minute detail on the muscles. But the man was bald, so Richardson then undertook the challenge of sculpting a subject with hair.
As with any art form, part of the artist is embodied in the work. Richardson's sculptures are no exception.
Photo courtesy of Bill Richardson
"He really is a very unique guy. There's just something genuine about him, and it comes through in his work," Redabaugh said. "The end result is like folk art. He has no formal training, but the honesty comes through."
Richardson also took an artistic approach to business, said his son, Bill Richardson, Jr., foreman for Hendonson Masonry in Henderson, Nev. He said his father typically charged less than his competitors, even when he could have increased his fees and made more money.
"He doesn't base anything on money," he said. "That's the artist side of him."
His other son, Kenny Richardson, superintendent for Marnell Masonry in Las Vegas, agrees, saying that despite being encouraged to actively sell his sculptures, his father has refused.
Photo courtesy of Bill Richardson
"He says, 'If someone comes by and sees it and wants to buy it, I'll sell it,'" Kenny said. "He's just that way. It's not about the money."
In masonry, as in sculpting, Richardson places his emphasis on craftsmanship, not monetary gain, which is precisely what he instills in the apprentices he's trained.
"I tell them upfront, 'If you're in it for the money, go rob banks. If you're in it for the trade, do a great job and enjoy it. The main thing is quality,'" he said.
A Sculptor's Journey
Photo courtesy of Bill Richardson
Richardson's road to sculpting began more than 40 years ago. In 1964, he was operating forklifts on a military site in Nevada where the U.S. government tested bombs. One day, a mason contractor mentioned that he needed an apprentice. Richardson volunteered and embarked on a new career.
He started out doing block work at a time when speed and production were the two most important criteria, and quickly became one of the fastest blocklayers. After some time, he realized that wasn't what he wanted to do, so he started laying brick, and then stone. "I felt a calling in stone," he said.
Over the ensuing years, he started his own company, Richardson Masonry, as well as worked for other contractors. An industry expert, he also traveled around the country teaching about stone veneer and cutting stone. All the while, Richardson continued to increase his own knowledgebase.
"Once you start fitting stone, you start learning the characteristics of the stone and how to cut it," he said.
Photo courtesy of Bill Richardson
Placing a high priority on learning, Richardson studied how ancient cultures used stone. He traveled to Peru to research Inca stonework, as well as to Mexico to study stone structures created by the Aztecs and Mayans. Richardson was impressed and influenced by the Inca's ability to fit stones tightly together without mortar.
He soon established a reputation for his own ability to fit tight joints. When he worked on the interior and exterior of the Las Vegas Strip's Mirage Hotel and Casino, one of his favorite projects, he used travertine stone from Montana with tight joints.
Photo courtesy of Bill Richardson
"I went through 60 guys on that job to get a dozen-man crew. I ended up with a good group," Richardson said, noting that his two sons made the cut. "It's hard to get someone who can cut stone that close and get the product in."
His extensive studying of stone, coupled with years of masonry experience, enabled him to fit joints as tight as 1/4-inch.
"To fit stone like that, you really have to understand the characteristics of stone, how to cut it and how to fit it," he said.
Eight years ago, he took Redabaugh's sculpting class and got hooked. He started sculpting with granite, and then switched to Las Vegas rock, which has 20 percent quartzite. Richardson said he prefers the rock, which he now uses almost exclusively, for its nice grain and color. It also lasts as long as granite.
Remarkably, Richardson successfully merged his knowledge of ancient civilizations with his passion for stone carving. After studying Mayan hieroglyphic writing for a few months, he learned enough to carve the words "Sculptor Bill" in hieroglyphics into the base of a Mayan chief sculpture. "It makes the piece more interesting," he said.
Photo courtesy of Carl Neitzert
Striving to be the Best
Whether working as a mason or a sculptor, Richardson has always wanted to be the best at his craft. "Whatever he does, he goes all out. That's one of the things I admire about him," said Bill, adding that he inherited some of his father's traits. "Whatever I do, I want to be the best at it and that's what I strive for. I guess I got that from my dad."
The elder Richardson started Richardson Masonry to teach his sons the trade. Both sons started working for their father in their teens and quickly learned the art of masonry. Not surprisingly, the sons use the same word to describe their father's work philosophy — quality.
Photo courtesy of Bill Richardson
"The main thing I learned from my dad is that quality is first. He always wanted something to be proud of and something the customer would like," Kenny said. "I wouldn't say striving to be a perfectionist, but he wanted us to do a good job and take pride in our work."
The trio made an impressive team. Customers praised their work and their ability to interact well on projects, even though the Richardsons rarely talked as they worked.
"The most important thing I learned from my dad was how to work. He emphasized the quality. He taught me a good work ethic and to enjoy what I did," said Bill. "My dad is an excellent teacher. He has a lot of patience, but at the same time, you know what he expects."
As a testament to his patience, he didn't get upset when he was trimming a fireplace hearth and his nephew, setting stone on the wall above him, dropped a 10-pound stone on his head.
Photo courtesy of Carl Neitzert
"I guess that's part of the trade," he said. "I don't get mad very easily."
After a few years, Richardson decided his sons needed better benefits and a different work experience, so all three went to work for Bill Daley Masonry in Las Vegas.
"My dad would say, 'I want you kids to know more than me. You learned everything I know and you learned from others. You should know more than I do,'" Bill said.
Regardless of where Richardson went, he continued to earn admiration for his exceptional work.
"He always has a way of coming across to achieve the results we want. He jumps in and makes it happen. He understands what needs to be done and gives it the aesthetic look that we want," said Rae Price, FASLA, principle at Peridian International, a Newport Beach, Calif.-based landscape design company that has hired Richardson for projects over the last 15 years. "What I like is his ability to accept any challenge."
A Legacy in Stone
Richardson is not the first member of his extended family to claim the title of artist. His grandmother was a talented oil painter, and his brother was an artist for Walt Disney, art professor at the University of Alabama, and worked intelligence for Howard Hughes when he lived in Las Vegas. But Richardson is the first family member to earn accolades for his work in stone.
As Richardson, who turned 68 in February, secures his reputation in sculpture, he leaves behind a legacy in masonry. He spoke from the heart when he said that today's master masons have a responsibility to "hold the value of the industry."
Photo courtesy of Bill Richardson
Stone carving is far from extinct. Through competition among commercial and residential owners for more elaborate stonework, the craft is getting a renewed interest and increased exposure. Richardson spent most of his career working on these high-end residential projects, including one for casino and hotel mogul Steve Wynn. He also performed his artistic achievements on several local casinos, allowing him to see his work as he drives around town.
"That's what's nice — seeing your work all over," he said.
While Richardson still visits job sites to help teach younger masons the trade, offer advice, and keep in contact with his colleagues, his primary focus is now on sculpting.
"Watching him work, and then seeing the other things he's done, such as the sculptures, really impresses me," said Price, who is particularly impressed with a sculpture of a mason chipping himself out of stone. "His sculpture work is absolutely phenomenal."
After having his work on display at a local art gallery, Richardson has been honored by having some of his pieces exhibited at the Henderson City Hall. His sculptures, including "Moses" and "Big Horn Sheep," set the landscape for the downtown.
"Everybody loves his pieces. I've seen kids just stare at them. I know I'm in awe of what he's done," said Lisa Sich, Henderson City Hall accountant for redevelopment, who helped bring art to the downtown area. "He's just a wonderful, wonderful artist. I can't imagine our city hall without these pieces.
www.buildingstonemagazine.com/spring-06/lifeinstone.html
Just found it interesting another connection to Howard Hughes, even if a little distantly related.
By Brett Martin
Bill Richardson Sr. knows stone. From "master mason extraordinaire" to renowned sculptor, successful business owner to respected teacher, he's made a life — and helped create the Las Vegas-area landscape — by working with stone.
"Anything involving stone, I enjoy working with," Richardson said. "It's been a good trade."
While Richardson is quick to say that the stone industry has been good to him, he's also given plenty back. He introduced his sons to the industry — both of whom are now master masons — and has trained hundreds of others. He's also a fierce advocate for professionalism and quality workmanship in the art of laying stone.
Photo courtesy of Carl Neitzert
Now, in his fifth decade of working with stone, Richardson's interests have evolved from laying stone to carving it. He's become an accomplished sculptor whose works are featured in the city hall of his hometown, Henderson, Nev., and in the Southern Nevada Veterans Memorial Cemetery in Boulder City, Nev.
Heart of an Artist
Even when Richardson was a bricklayer, well before he started working with stone, he exhibited artistic qualities.
"He's always been artistic," said his wife, Virginia Richardson. She said sculpting hasn't changed his blue-collar roots, joking that, "He looks more like a bricklayer than an artist."
With no formal training, Richardson doesn't sketch out his ideas or make models or prototypes before sculpting. "If I did all of that, I'd be tired by the time it came to carving," he said. Instead, he takes some measurements, then starts chiseling.
"I see what I want to do, and I just do it on the stone," Richardson explained. "It seems to work well for me."
Photo courtesy of Bill Richardson
While his approach may be unconventional, it's proven successful. Not only has he earned the praise of his peers, he won the Craft Award from the International Masonry Institute (IMI) in Annapolis, Md., in 2003 for a series of sculptures, including his first piece, a bust of a Native American.
"I'm just amazed at what he's done," said Matthew Redabaugh, special projects coordinator for the IMI, who gave Richardson his only training — a four-hour class. "There's a lot of talent there. Raw talent."
Redabaugh — also an IMI Craft Award winner — is impressed with Richardson's desire to continually challenge himself. For example, Richardson spent nearly 1,000 hours on his "Anatomy Man" sculpture, which involved minute detail on the muscles. But the man was bald, so Richardson then undertook the challenge of sculpting a subject with hair.
As with any art form, part of the artist is embodied in the work. Richardson's sculptures are no exception.
Photo courtesy of Bill Richardson
"He really is a very unique guy. There's just something genuine about him, and it comes through in his work," Redabaugh said. "The end result is like folk art. He has no formal training, but the honesty comes through."
Richardson also took an artistic approach to business, said his son, Bill Richardson, Jr., foreman for Hendonson Masonry in Henderson, Nev. He said his father typically charged less than his competitors, even when he could have increased his fees and made more money.
"He doesn't base anything on money," he said. "That's the artist side of him."
His other son, Kenny Richardson, superintendent for Marnell Masonry in Las Vegas, agrees, saying that despite being encouraged to actively sell his sculptures, his father has refused.
Photo courtesy of Bill Richardson
"He says, 'If someone comes by and sees it and wants to buy it, I'll sell it,'" Kenny said. "He's just that way. It's not about the money."
In masonry, as in sculpting, Richardson places his emphasis on craftsmanship, not monetary gain, which is precisely what he instills in the apprentices he's trained.
"I tell them upfront, 'If you're in it for the money, go rob banks. If you're in it for the trade, do a great job and enjoy it. The main thing is quality,'" he said.
A Sculptor's Journey
Photo courtesy of Bill Richardson
Richardson's road to sculpting began more than 40 years ago. In 1964, he was operating forklifts on a military site in Nevada where the U.S. government tested bombs. One day, a mason contractor mentioned that he needed an apprentice. Richardson volunteered and embarked on a new career.
He started out doing block work at a time when speed and production were the two most important criteria, and quickly became one of the fastest blocklayers. After some time, he realized that wasn't what he wanted to do, so he started laying brick, and then stone. "I felt a calling in stone," he said.
Over the ensuing years, he started his own company, Richardson Masonry, as well as worked for other contractors. An industry expert, he also traveled around the country teaching about stone veneer and cutting stone. All the while, Richardson continued to increase his own knowledgebase.
"Once you start fitting stone, you start learning the characteristics of the stone and how to cut it," he said.
Photo courtesy of Bill Richardson
Placing a high priority on learning, Richardson studied how ancient cultures used stone. He traveled to Peru to research Inca stonework, as well as to Mexico to study stone structures created by the Aztecs and Mayans. Richardson was impressed and influenced by the Inca's ability to fit stones tightly together without mortar.
He soon established a reputation for his own ability to fit tight joints. When he worked on the interior and exterior of the Las Vegas Strip's Mirage Hotel and Casino, one of his favorite projects, he used travertine stone from Montana with tight joints.
Photo courtesy of Bill Richardson
"I went through 60 guys on that job to get a dozen-man crew. I ended up with a good group," Richardson said, noting that his two sons made the cut. "It's hard to get someone who can cut stone that close and get the product in."
His extensive studying of stone, coupled with years of masonry experience, enabled him to fit joints as tight as 1/4-inch.
"To fit stone like that, you really have to understand the characteristics of stone, how to cut it and how to fit it," he said.
Eight years ago, he took Redabaugh's sculpting class and got hooked. He started sculpting with granite, and then switched to Las Vegas rock, which has 20 percent quartzite. Richardson said he prefers the rock, which he now uses almost exclusively, for its nice grain and color. It also lasts as long as granite.
Remarkably, Richardson successfully merged his knowledge of ancient civilizations with his passion for stone carving. After studying Mayan hieroglyphic writing for a few months, he learned enough to carve the words "Sculptor Bill" in hieroglyphics into the base of a Mayan chief sculpture. "It makes the piece more interesting," he said.
Photo courtesy of Carl Neitzert
Striving to be the Best
Whether working as a mason or a sculptor, Richardson has always wanted to be the best at his craft. "Whatever he does, he goes all out. That's one of the things I admire about him," said Bill, adding that he inherited some of his father's traits. "Whatever I do, I want to be the best at it and that's what I strive for. I guess I got that from my dad."
The elder Richardson started Richardson Masonry to teach his sons the trade. Both sons started working for their father in their teens and quickly learned the art of masonry. Not surprisingly, the sons use the same word to describe their father's work philosophy — quality.
Photo courtesy of Bill Richardson
"The main thing I learned from my dad is that quality is first. He always wanted something to be proud of and something the customer would like," Kenny said. "I wouldn't say striving to be a perfectionist, but he wanted us to do a good job and take pride in our work."
The trio made an impressive team. Customers praised their work and their ability to interact well on projects, even though the Richardsons rarely talked as they worked.
"The most important thing I learned from my dad was how to work. He emphasized the quality. He taught me a good work ethic and to enjoy what I did," said Bill. "My dad is an excellent teacher. He has a lot of patience, but at the same time, you know what he expects."
As a testament to his patience, he didn't get upset when he was trimming a fireplace hearth and his nephew, setting stone on the wall above him, dropped a 10-pound stone on his head.
Photo courtesy of Carl Neitzert
"I guess that's part of the trade," he said. "I don't get mad very easily."
After a few years, Richardson decided his sons needed better benefits and a different work experience, so all three went to work for Bill Daley Masonry in Las Vegas.
"My dad would say, 'I want you kids to know more than me. You learned everything I know and you learned from others. You should know more than I do,'" Bill said.
Regardless of where Richardson went, he continued to earn admiration for his exceptional work.
"He always has a way of coming across to achieve the results we want. He jumps in and makes it happen. He understands what needs to be done and gives it the aesthetic look that we want," said Rae Price, FASLA, principle at Peridian International, a Newport Beach, Calif.-based landscape design company that has hired Richardson for projects over the last 15 years. "What I like is his ability to accept any challenge."
A Legacy in Stone
Richardson is not the first member of his extended family to claim the title of artist. His grandmother was a talented oil painter, and his brother was an artist for Walt Disney, art professor at the University of Alabama, and worked intelligence for Howard Hughes when he lived in Las Vegas. But Richardson is the first family member to earn accolades for his work in stone.
As Richardson, who turned 68 in February, secures his reputation in sculpture, he leaves behind a legacy in masonry. He spoke from the heart when he said that today's master masons have a responsibility to "hold the value of the industry."
Photo courtesy of Bill Richardson
Stone carving is far from extinct. Through competition among commercial and residential owners for more elaborate stonework, the craft is getting a renewed interest and increased exposure. Richardson spent most of his career working on these high-end residential projects, including one for casino and hotel mogul Steve Wynn. He also performed his artistic achievements on several local casinos, allowing him to see his work as he drives around town.
"That's what's nice — seeing your work all over," he said.
While Richardson still visits job sites to help teach younger masons the trade, offer advice, and keep in contact with his colleagues, his primary focus is now on sculpting.
"Watching him work, and then seeing the other things he's done, such as the sculptures, really impresses me," said Price, who is particularly impressed with a sculpture of a mason chipping himself out of stone. "His sculpture work is absolutely phenomenal."
After having his work on display at a local art gallery, Richardson has been honored by having some of his pieces exhibited at the Henderson City Hall. His sculptures, including "Moses" and "Big Horn Sheep," set the landscape for the downtown.
"Everybody loves his pieces. I've seen kids just stare at them. I know I'm in awe of what he's done," said Lisa Sich, Henderson City Hall accountant for redevelopment, who helped bring art to the downtown area. "He's just a wonderful, wonderful artist. I can't imagine our city hall without these pieces.
www.buildingstonemagazine.com/spring-06/lifeinstone.html
Just found it interesting another connection to Howard Hughes, even if a little distantly related.
