In a compelling display of artistic discipline and spontaneous creation, Damien Hoar de Galvan undertook a remarkable year-long endeavor starting in 2024. He committed to crafting a distinct, small-scale wooden sculpture each day from his Boston-area studio, utilizing salvaged timber. This focused daily practice emerged from his aspiration to revitalize his artistic approach, explore fresh mediums, and accelerate his creative output, particularly after facing personal and professional hurdles during challenging times. His method centered on intuitive selection of shapes or colors from his material hoard, allowing each piece to evolve organically rather than adhering to preliminary sketches. This journey of daily making, totaling 362 unique works, was initially a personal exploration without exhibition in mind, yet it ultimately garnered significant recognition.
Hoar de Galvan's venture into daily sculpting was deeply rooted in his personal experience. The artist, having navigated the complexities of raising a teenage daughter amidst a global pandemic while sustaining his art practice, sought a method to reintroduce joy and spontaneity into his creative life. This disciplined routine offered a sanctuary where he could experiment without the pressure of perfection; if a piece didn't resonate, the next day presented a fresh opportunity. His process was largely improvisational, beginning with a simple choice of form or hue from his collection of reclaimed wood scraps, then allowing the material to guide the sculpture's development. He often expressed a sense of wonder as each piece dictated its own identity during creation.
The project's trajectory shifted unexpectedly when a studio visit from ICA Boston curator Tessa Bachi Haas sparked the idea of a public display for his extensive collection. This conversation eventually led to Hoar de Galvan being awarded the prestigious 2025 James and Audrey Foster Prize, an honor that included an exhibition at the museum. The collection, titled "I don't think I'm ever gonna figure it out," drawing inspiration from an Elliot Smith song, was presented on five expansive shelves. Together, the 362 sculptures, each merely inches in height, formed a striking tableau of diverse yet harmoniously integrated forms. They ranged from vibrant, geometric fan-like structures to peculiar comb-shaped compositions and radial designs reminiscent of starbursts, all born from a year of dedication and relentless experimentation.
Each miniature artwork serves as a tangible chronicle of a specific moment, collectively embodying a year of profound artistic commitment and inventive exploration. Hoar de Galvan remarked on the subtle yet persistent connections that ran through his vast body of work, noting how new ideas would often emerge during the daily process, even if they had to be deferred for future creations. This intricate web of sculptures not only showcases his artistic evolution but also highlights his ability to find inspiration and coherence within a seemingly disparate collection. Currently, the artist is preparing for upcoming exhibitions at Tokyo's Gallery Side2 and Gallery Naga, indicating a continued engagement with his unique artistic vision.
The entirety of Damien Hoar de Galvan's daily sculpture project represents a powerful testament to consistent artistic practice and the surprising paths creativity can take. What began as a personal quest for renewed artistic vigor culminated in a celebrated exhibition, transforming humble wood scraps into a cohesive narrative of a year's worth of intuitive artistry. The collection underscores the beauty of improvisation and the profound impact of daily dedication, revealing how small, consistent efforts can lead to a significant and recognized body of work.