Vincent Faust is a professional stage designer, painter and multidisciplinary artist. He holds a BFA in Scenery Design from the Art Institute of Chicago and an MFA in Design for Theatre from Penn State University.
Over a 35-year career, Faust designed stage sets for well over 150 theatre and dance productions for various venues, including several national touring musicals. During this time he was also an Adjunct Professor, teaching university classes in stage design. He is an accomplished scenery and backdrop painter, proficient craftsman, and owned a scenery and display production company for many years.
One particular commercial project, created originally for Herman Miller Furniture, is a six-foot cube-shaped sculpture representing an exploded view of the Eames Lounge Chair and Ottoman. That piece is a primary point of origin for Vincent’s work today. Following its incorporation in a touring exhibition, it is now displayed in the permanent collection at The Henry Ford museum in Dearborn, Michigan.
In tandem with a move to Santa Fe, New Mexico, Faust transitioned his creative energies to welded and assembled steel sculpture. He is inspired by the New Mexico landscape, as are so many artists, and finds his aesthetic influence in abstract interpretations that may either blend or contrast with the natural environment.
Vincent Faust currently lives in Santa Fe with his wife, Elizabeth, also an artist.
Dynamic and colorful are among the attributes that best describe Vincent Faust’s work. He creates welded steel sculptures that range from soaring organic shapes to assemblages one might consider geometric puzzles. Much of his work is in a human scale that lends itself to either indoor or outdoor settings. The dynamism is a result of his fanciful abstract open forms that inspire the viewer to contemplate nature and technology alike, sometimes simultaneously.
Many of his sculptures have inherent movement to the touch or the outdoor breeze, as they are created with components that flex, balance and interact with each other. Other pieces that may integrate the illusion of flexibility are actually rigid by design, contributing to the appreciation of an astute viewer. Faust has the ability to direct and misdirect one’s attention with his aesthetics while at the same time confusing one’s sense of space and balance with his unique technical concepts.
The colorful aspect of Faust’s sculptures is tied to their durability and suitability for outdoor settings. They are treated with a professional powdercoat finish, designed for rigorous conditions and longevity, yet the finish is much more than that. The colors are chosen as a further expression of the aesthetic of the forms themselves, as an assist to contrasting components, and of course as a compliment to the surrounding environment in which the piece may be placed for viewing. The color treatment provides an extra measure to both the artistic statement and quality of workmanship that afford value to Faust’s creations.
I’ve spent much of my life as a professional stage designer and scene painter. In that career I became a proficient craftsman in a wide variety of disciplines incidental to stage work, including carpentry, welding, rigging, electrical, and painting skills. The key to my current artistic insights lies in my comfort in these disciplines combined with my aesthetic/creative development over time.
Design for theatre involves the exploration of form in a three-dimensional environment, and this is what continues to stimulate my creativity. My current three-dimensional fine art is influenced by the open spatial nature of design for the stage, and consists of welded and assembled steel sculpture. I sometimes incorporate found objects or standard steel forms, and sometimes create large-scale conceptual pieces suitable for outdoor installations. My work is typically not figurative, but rather examines the abstract relationship between positive and negative space, and highlights the interplay of balance, tension and movement.
My design process is a tightly integrated correspondence between creative exploration and technical problem-solving. The result is work in which the aesthetic idea and the mechanical solution may significantly influence each other, and may even be an obvious aspect of the finished work. I often utilize aircraft cable tension/suspension to help achieve my goals. Finally, most of my pieces are treated with an industrial powdercoat finish for durability, often in bold colors. I enjoy presenting powerful visual statements and aspire for the eclectic range of my works to be both playful and thought provoking.