Bill Mack: “There are different levels, typically I build a high relief or elder relief and advanced it in a way that the pictures could be put in homes and offices.
We started to put them in homes and offices in the 80’s, now I’m the only one who is doing it.”
SZ: “We usually look at sculptures on a desk, shelf, or to place on a stand, but you thought out-of-the-box. The sculpture reliefs must be heavy to place on the wall?”
Bill Mack: “With the typical firing method it would take a crane to put it up on the wall. A big part is I had to find the right materials and we control the way we do it in the studio. I keep a big piece under 100 pounds.
The difference is how high the figures project from the background. I’m the only one who uses this technique.”
SZ: “Whether it’s a whole scene, one person or other subjects, they really stand-out from the background and also seem to jump out of the relief sculpture! They have depth and realism. You use 3-D effects in exciting ways to extend the elephant’s foot just over the frame, the woman’s leg hangs out of the picture completely.” (Examples shown in this article).
SZ: “Your realism is amazing and the way you change the mood of paintings and sculptures.
Bill Mack: “The fact that I can create 3-Dimension relief and painting as well.”
SZ: “Your paintings of Robert Di Nero and Al Pacino are striking and dramatic but they look younger than they are.”
Bill Mack: “I take 3-Dimension and reduce it to 2-1/2 and 2-Dimension. I see the subjects like they should be seen, I know how they will look, and how to do it. I paint them in 2-dimensions and am still thinking like a sculptor. My mind sees the way it sees and still gets a sense of that abstract.”
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SZ: “People appreciate all of the work that goes into the sculpture reliefs of an ancient art. This relief format – in Mack’s case, “alto relief” – originated in ancient temple friezes and marble sepulchers.”
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