Norm Sartorius’ wooden spoons bear little resemblance to the kitchen variety we use every day. In fact, Sartorius’ work elevates and celebrates both the form and the material in ways that have landed his work in prestigious exhibitions and collections around the world.

TCR: How did your work evolve from where it started to the work you create today?

NS: In 1974, I quit my job as a psychiatric social worker in Baltimore and soon after met a Baltimore couple, Phil and Sandye Jurus, who ran a craft shop. They were silvermiths and woodworkers and were involved in the early ACC shows at Stowe, Bennington, and Rhinebeck in Vermont. They took me on as an apprentice and for the next 15 years I did local and regional retail shows with small items crafted in wood.

All along it seemed I enjoyed, and received more attention for, my spoons. I entered my spoons in the West Virginia Juried Competition and won. The state had a booth at Baltimore Wintermarket in 1979 and my spoons were well received. I got an order from the del Mano Gallery.

In 1979, at the Columbus Winterfair, I met Bobby Falwell, a graduate of the School for American Craftsmen and a past professor of Sculpture and Furniture Design at Southern Illinois University. He bought several spoons and told me my spoons were small sculptures. He invited me to come to work in his custom furniture studio in Kentucky.

I moved in 1980 and worked there for 18 months and continued to do shows with my small woodwork. Ramona Lampell of Appalachian Art on Long Island was very supportive of my spoon carving at this time as well. In 1983, I got married and returned to West Virginia. The same year my father died unexpectedly in July and I was in a severe auto accident in December. Recovery from the accident took about six months and I went through a lull in my life and my woodwork.

In 1985, I built my present studio and began a transition period from functional utensils to spoons as decorative art. Horty Scheiber of the Pro Art Gallery in St. Louis gave me my first shows with spoons as small sculptures. It was very encouraging. All of my spoons sold and at prices I thought impossible. Prior to those shows, all but one spoon had been under $50. At the Pro Art shows many spoons sold between $100 and $200. I began to consider changing my booth and taking a chance on better shows.

I had taken several workshops from well-known turners (David Elsworth, Al Stirt, Del Stubbs, Palmer Sharpless, John Jordon). It seemed to me that something was happening in turning — wooden bowls and salad bowls were considered art objects. I thought the same was possible with spoons.

In 1990, I built my present booth display and applied to the top shows in the country with professional slides.

TCR: Where are the markets for your work? What is your strategy for reaching them?

NS: I thought if I wanted people to view my work as decorative art I had to display my spoons much as museums do, using small, uncluttered and well-lit pedestals with tidy labels. High quality photography for show applications, documentation, and advertising has also played a key role. With only rare exceptions, I do not duplicate a spoon. (When a collector buys from me they know they are the only ones with that piece.) I work hard to find and acquire unusual, interesting, and rare wood. The raw material plays a role in my designs and collectors have become very interested in the wood itself.

My market, by choice, is top craft shows like the Philadelphia Museum of Art Craft Show, the Smithsonian Craft Show and the American Craft Expo. I prefer these to gallery opportunities because of the relationships I develop with my customers. Many have become friends and I receive direct feedback from them about my work.

While many galleries have offered shows over the years, I find that even the best ones seem like cold, straight, businesses compared to shows, giving minimal feedback — and even then it is second hand.

I depend on knowledgeable craft collectors; people with a sense of the movement and history in the area of wood art. Craft publications have included my work in their articles and this publicity has led to sales. Craft collectors who attend conferences and museum openings also appreciate well-prepared background materials.

TCR: Besides being featured in museums and major collections, what is the bulk of your business?

NS: I don't do wholesale shows. I rarely sell to galleries. Each year I do several commissions, which are largely prompted by photos of past work I have sold. The bulk of my living is made at high -end retail shows.

TCR: Have there been major turning points in your career as a wood artist?

NS: Major turning points are many. Without my wife’s support, encouragement, and business knowledge it is unlikely my business would have progressed as far as it has. Other artists, especially studio woodturners who are all more advanced in their careers than me, have given me clues to the puzzle. The death of my father and my auto accident convinced me that I should delay no further the pursuit of my dreams since we never know how long we have.

TCR: What business challenges have you overcome?

NS: Perhaps the greatest challenge has been to get the public to consider that a beautiful wooden spoon is no different than a beautiful ceramic bowl or woven basket. It is no less deserving as a decorative object. No less rich in form or character and no less interesting to hold and appreciate over time. It is only custom and momentum that has kept spoons in the soup pot. At the recent Smithsonian Craft Show, there were two entire booths of non-functional ceramic teapots. They were wonderful, creative objects geared to the teapot collector, not the tea drinker. I see the same potential for wooden spoons.

One constant challenge is to believe in my work regardless of my sales at a show. Few artists can predict sales at a retail show. ACC Baltimore was weak for me this year and the Smithsonian show was very good, so, the resulting emotional impact was very different. After all these years I would hope to be more insulated from this sort of stress, but I am not.

TCR: What has been the most difficult thing you have encountered in your work?

NS: I suppose, honestly, it would have to be the hard reality that even though I have had success with my work and my goal to have my spoons taken seriously as art objects, it is unlikely that I will ever make a substantial living (as an artist). I am 55 and have a son headed for college in three years and it concerns me that I am not really financially successful — or only very modestly so.

TCR: What, in terms of business insight, have you learned to do or not do over the years?

NS: There remains much to learn but I’m finding that mediocre work is not worth my time. I used to finish every spoon just because I had started it. Now, I am constantly abandoning work that clearly will be unremarkable in favor of pieces that at least seem to have the potential to be great.

TCR: How has the Internet affected your business?

NS: I don’t have a Web site but plan to have one before the end of 2002. I do use e-mail a great deal for speedy communication related to my business. The Internet has enabled me to locate and purchase woods I would never have found otherwise. Also, it has helped me research spoons from other cultures and other American makers. News of my awards and exhibitions has been posted on show and museum sites so I have received some added exposure this way. I am noticing increased demand for digital images and I believe show applications will eventually be submitted online.

TCR: What is the next step for you?

NS: It makes sense that if I have been able to find 20 collectors in Philadelphia where I have shown many times, I should also be able to find several in Boston where I have never shown. Researching shows, and applying and exhibiting in new areas are a priority. I am going to use already existing opportunities for publicity to keep my work in front of collectors. I will continue to explore, experiment, learn, and play with spoons as a context for sculpture.

TCR: Where is your work available?

NS: The del Mano Gallery will exhibit my spoons at SOFA New York. My next show is the American Craft Expo in Evanston, Ill., in late August, followed by the Washington Craft Show in November. The del Mano Gallery will also exhibit my work at SOFA Chicago in October. I was selected for the Collector's Choice Exhibit in which the membership of the Collectors of Wood Art voted on the 24 artists they wanted.