About the Artists:

When one first looks at a Paul Bloch marble sculpture, it is easy for the eye to follow the sinuous path the chisel made along the sensuous ribbon. There is perfect harmony between the smooth white of the marble and the shadows in the negative space. One expects that the artist planned the sculpture very carefully, maybe drawing on the stone, or creating a small maquette first. So it is especially surprising to hear the artist compare his approach in sculpting stone to jazz improvisation, because his lush, yet organized forms seem too finalized to have come from such an improvisational process.

Bloch describes a pivotal moment when he heard Monk play during a jazz appreciation class in college: “I am not a musician, but I play music. When I sculpt, I am striving to create 3D, melliferous sound.”

Bloch began sculpting in 1974 and was soon admiring great European sculptors, such as Bernini, Chillida and Max Bill, during a trip to Italy and Switzerland. When he arrived in Carrara, Italy, he immediately fell in love with the sensuality of white marble. He aimed to become one of the best practitioners of abstract stone sculpture, and worked hard to acquire his excellent mastery of carving techniques. To this day, Carrara is Bloch’s favorite place to be, surrounded by white dust and in the company of some of the best stone carvers in the world!

Now, more than 40 years later, Bloch jokes, “Sometimes, it is fun to make a mistake; it forces me to react. Accidents are the mother of invention!” For Bloch, carving stone is akin to playing chess, one move at a time. The danger inherent in removing about 1/3 of the mass while keeping close to the outer dimensions of the original block, one subtle change at a time, is intoxicating. Bloch also likes to remember his favorite warning by his mentor Mark Di Suvero as he works: “You have to understand the difference between capricious and essential form.” This search for the essential form is what drives Paul Bloch’s work.


Selected Solo Exhibitions
2014 Yares Art Projects, Santa Fe, NM
2007 Zane Bennett Gallery, Santa Fe, NM
2002 Gallery Chiaroscuro, Santa Fe, NM
1995 Galerie Carzaniga & Ueker, Basel, Switzerland
1991 Galerie Carzaniga & Ueker, Basel, Switzerland (catalog)
1989 Galerie Carzaniga & Ueker, Basel, Switzerland

Selected Group Exhibitions
2017 Ellsworth Gallery, Santa Fe, NM
2016 Heather Gaudio Fine Art, New Canaan, CT
2015 Heather Gaudio Fine Art, New Canaan, CT
2014 Art Palm Springs and Art Miami
2014 "Black, White and Red," Heather Gaudio Fine Art, New Canaan, CT
2014 Los Angeles International Art Fair (Heather Gaudio Fine Art, New Canaan, CT)
2012-2013 Yares Art Projects, Santa Fe, NM
2012-2013 Art Miami, Art Aspen and Art Southhampton
2009-2011 Riva Yares Gallery, Santa Fe, NM
2010 Los Angeles International Art Fair (Bryant Street Gallery, Palo Alto, CA)
2010 San Francisco International Art Fair (I Wolk Gallery, St. Helena, CA)
2010 Bryant Street Gallery, Palo Alto, CA
2006-2009 Salon Margraff, Santa Fe, NM
2001-2009 I Wolk Gallery, St. Helena, CA (Auberge du Soleil)
2001-2009 Bryant Street Gallery, Palo Alto, CA
2000-2009 Santa Fe Community College, Faculty Show, Santa Fe, NM
2004-2005 Winterowd Fine Art, Santa Fe, NM
2004 State Capitol Building, Faculty Show, Santa Fe, NM
2000 Gallery Zip, Valencia, NM
2000 Vanto Fine Arte, San Francisco, CA
1999-2000 Lumina Gallery, Taos, NM
1999 Christian Chaneau Gallery, Santa Fe, NM
1998 ACA Gallery, Santa Fe, NM
1997-98 Grounds For Sculpture, Hamilton, NJ - Stone sculpture exhibit ion (catalog)
1996 Avignon en Provence, France
1994-1996 Lo Studio Reggiani, Milan, Italy
1992-1996 Galerie Carzaniga & Ueker, Basel, Switzerland (catalog, 1992)
1995 L'Grup Galleria, Carrara, Italy
1993 Allene Lapides Gallery, Santa Fe, NM
1990 L'Grup Galleria, Carrara, Italy
1988-1989 Various exhibitions, Tuscany, Italy
1985-1988 Forum Gallery, New York, NY
1984 Walnut Creek Civic Art Center, Walnut Creek, CA
1984 Allan Stone Gallery, New York, NY
1980-1982 Victor Fischer Gallery, Orinda and Oakland, CA
1979 Walnut Creek Civic Art Center, Walnut Creek, CA (catalog)
1979 Rusty Baker Gallery, San Anselmo, CA
1977-1978 Forster Goldstrum Gallery, San Francisco, CA
1976 Walton Gallery, San Francisco, CA

Selected Public Commissions and Collections
Colenco Power Engineering, LTD, Baden (Zurich), Switzerland
Reinhardt Druck, Basel, Switzerland
Wachendorf AG, Basel, Switzerland
Bogazzi Cargo Massa, Italy (loan)
Westin Hotel, New York, NY
Santa Fe Community College, Santa Fe, NM (loan)
George & Cynthia Mitchell Basic Sciences Research Bldg., Houston, TX

2012 Purchase Award for 2011 Santa Fe Community College/Horizontal Trilogy 
1984 Recipient of Athena Foundation Grant to sculpt at the Mark Di Suvero Studio, New York, NY

Professional Experience
1998-Present Living and working in Santa Fe, NM, and Carrara, Italy
2000-2004 Taught stone sculpture classes, Santa Fe Community College, Santa Fe, NM
1999 Stone sculpture workshops in Santa Fe, NM
1985-1997 Lived and worked in Carrara, Italy
1988-1995 Taught sculpture at Studio S.G.F., Carrara, Italy
1978-1994 Frequent lecturer and demonstrator at University of California, Berkeley and Santa Cruz, and San Franciscy City College at Fort Mason
1980-1983 Worked for James Prestini, reproducing his plaster designs in marble
1981 Taught sculpture at Hayward State University, Hayward, CA
1976 Began working in marble, Berkeley, CA
1974 Began carving, Berkeley, CA

1969-1973 B.A., Anthropology, Case Western Reserve University, Cleveland, OH
1973 Studied Music, String Bass, Cleveland Institute of Music, Cleveland, OH
1971-1972 Studied Sculpture, Cleveland Institute of Art, Cleveland, OH


A sculpture is more than the sum of its parts. It transcends its material and takes on a life of its own. It interacts with its environment and emits an internal and external energy. Mass has meaning and is a force in space and time.

Carving a block of stone, I utilize its entire mass and attempt to render a form that takes the eye on a journey through space; like music is to the ear, sculpture is to the eye. Time becomes a dimension. My sculpture often has significant gravity in spite of its negative space. It becomes a balancing act between closed and open spaces, mass and movement - a dynamic tension between opposites.

I don't care to create pretty things. Pretty is easy. Putting a feeling, form and life force into an inert stone, a common material in the universe, is my goal.