Initially, Mr. Nutt's work intrigued me because of the way in which it unapologetically integrates accessible imagery with a high level of craftsmanship. In part, through humorously approachable imagery, his work addresses an audience which might not ordinarily be prompted to purchase, or even look at art. In a recent conversation Mr. Nutt commented "I believe one reason to make things is to fill a space….I find it harder to work if I don't have some space to fill." His furniture sculptures, such as Tomato Table, or Celery Table With Carrots, Peppers and Sno Pea are certainly practical, referencing a space filled, or a need fulfilled. Still, these pieces are sly. Through their humorous approach to subject matter, they refer to trends in contemporary design. It would be a mistake however to dismiss these pieces as pretty, lighthearted objects. Their elegant lines and rich surfaces and colors compel the viewer to touch. And, once caressing the beautifully finished surfaces and sensuous forms of these objects, one makes the surprising discovery that this is also, and perhaps fundamentally, sculpture. The tension which exists between the artist's exquisite craftsmanship, and the absurdity of the imagery he employs, is insidiously enticing. Like a delicious, thoughtfully prepared meal, its appeal commences visually, progresses sensually, and closes intellectually.

Craig Nutt's background as a musician and antique furniture restorer, a job he held for several years after receiving his undergraduate degree, forms the foundation for his work as a visual artist. In Craig's own words, "I became interested in furniture and discovering the old ways of making it. Working on old furniture exposed me in a very personal way to what I call "the ethic of craftsmanship"….."As I became more fluent with technique, and as a result of making period-style pieces, I began to look for ways to combine the more improvisational aspects of the painting, sculpture and music I had been doing, with the very tight craftsmanship of furniture." This "ethic of craftsmanship" is clearly evident in Mr. Nutt's recent commission entitled Concorde, a site-specific sculpture installed in Atlanta's Airport in 1996. The humorously out-sized and elaborately carved airborne cob of corn is appealing because it so tellingly blends the artist's fascination with the social and economic significance of food, with astute observations about the powerful effects of mobilizing technology. With the public installation of Concorde, Craig Nutt has achieved a rare fusion of wit, humor, social commentary, and graceful craftsmanship in a work which is appealing and morally grounded without ever appearing didactic or self-satisfied. ... 

Copyright Mara Adamitz Scrupe 1998, Reprinted by permission of the author.