Bio/Artist Statement

Originally posted at createeugene.com, by Luke Fannin

Eugene weaver and basketmaker Donna Sakamoto Crispin isn’t one to expound on the depth of meaning in each piece of her vastly diverse body of work. Rather, she is one of those rare, refreshing artists who allows a work of art to speak for itself–and, often, for her. Ms. Crispin’s art form utilizes traditional Japanese and Native American techniques passed down from generation to generation for hundreds, even thousands of years. She believes her work as artist and teacher is fundamental to preserving this craft which, outside of the realm of art, is largely obsolete.
But beyond these considerations–and we should hope every artist regards the heritage of their craft with such reverence–Ms. Crispin doesn’t get overly concerned with the details. “I’m just doing what I want to do,” she says. “I like to see what I can do with different materials. Often, I’m just responding to the environment.” This usually means she works with materials gathered sustainably, from leaves and pine needles gathered from the forest floor to painstakingly harvested strips of cedar bark.
But sometimes, Ms. Crispin creates a piece that seems to be in direct conversation with the world around her. As complex, intricate, and varied as all her work is, it is these landscape-inspired pieces that are arguably the best examples of Ms. Crispin’s artistry. While artist-in-residence at Playa Home in Summer Lake, Oregon, Ms. Crispin created Willow Pod, seen above, a living willow and red osier dogwood basket. The juxtaposition of basket and landscape reminds her, she says, of the Japanese concept of wabi, “a lonely sense of impermanence.” It is perhaps appropriate that all she need say in explanation of the piece is a single word, all others failing. Isn’t that, after all, why we create visual art in the first place: because explanations, summaries, generalizations–words–simply aren’t enough.