David Lazarus

Speaking in the distinguished British accent that has won him voiceover

PHOTOS BY ROB BENCHLEY David Lazarus has mastered the arts of scrimshaw, printmaking and painting. commissions, lanky artist David Lazarus nearly filled what space remained in his tiny 2 Union St. studio/gallery between his old, school model printmaking press and canvases stacked against the walls.

Born in London in 1952, Lazarus said he was essentially useless trying to achieve success in school except with art and his love of the English language.

"It was fairly clear early in life that I had no chance of being a lawyer or a doctor," he said with a laugh.

Before he left England for the U.S. in his 20s, Lazarus was accepted at several art institutes but chose the Bath Academy of Art. His stay was brief, because after studying there for a year the principal kicked him out for being a troublesome radical.

"I didn't make very much art but I had a great time," he recalled.

When he left his homeland he traveled across Canada to British Columbia and then to the state of Washington where in Bellingham he worked with a group of artists practicing scrimshaw on ivory.

"Instantly, I said this is for me — the miniature nature of the craft suited me. It was big on the front of folk art Americana."

People he met there referred Lazarus to Nantucket because of its scrimshaw history. Arriving here in 1975, he became employed at Kareka, formerly on Main Street, then was hired by Four Winds Craft Guild owner Morgan Levine. Levine gave Lazarus an apprenticeship learning the whaling-related motifs of scrimshaw he applied to ivory teeth and lightship basket tops.

"It was a great era for me through my 20s and 30s, but after a while I became very antsy," he said, explaining that at that juncture he began trying his hand at Intaglio printmaking utilizing the scrimshaw technique. He scratched his images onto Plexiglass surfaces, then transferred them to paper with his trusty Dick Blick tabletop press still in use.

"I really consider myself selftaught, especially with the printmaking," he said. "I read and researched and found my way."

Lazarus had a passion for wood engraving for a time, but 18 years ago decided to delve into painting (see above). Lazarus had a passion for wood engraving for a time, but 18 years ago decided to delve into painting. He liked the change from a linear method to creating on a malleable surface holding lots of bright colors. His pieces became larger and looser, bringing him to his current style, which tends toward modernism with an abstract theme.

"It's more spontaneous and less concerned with formal realism — quick, energetic brush strokes that give a painting its life," he said. "I don't paint from photographs anymore. I rarely take paints out in the field. What inspires me now is painting from an inner landscape — painting from inside rather than outside.

"I have this internal memory of the landscape and I translate it from a personal vision. I do more and more imaginative work. I seem to do my best painting when I'm not looking at the landscape.

"I'm right on the threshold of going into abstraction and working on images that are about design and pattern, but not about realism. Abstraction is a dangerous journey. It's very fulfilling, yet it's dangerous. But if you just do the same thing over and over again you're not going to want to paint much after a while."

Lazarus has his personal philosophies about art, and also about the state of the art world in today's recessionary climate. Saying that artists must reinvent themselves now and make their pieces affordable instead of hoping for high-ticket sales, he noted that he recently ordered a stock of soft rubber blocks. The rubber cuts easily with a linoleum knife to create a form of relief printmaking that produces a strong, graphic image when placed on his press for transfer to paper. The rubber material is inexpensive, making it possible for Lazarus to sell the finished work to patrons at reasonable prices.

"It is time for artists to find a way to market themselves in a difficult economy," he said.

Lazarus will be working in his studio through the winter, but keeps irregular hours. Anyone wanting to talk with him or watch him during the creative process may call 508-221-3400 if his gallery is not open. He is also considering offering oneon one art classes there. I