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Bill Kaderly Gallery - the Best Kept (Fun) Secret in Gila!

575-535-2897 ~ PO Box 363 ~ Gila NM  88038

D e s e r t   E x p o s u r e                                 August 2012 Creative Pursuits

Garden of Earthly Delights

Gila artist Bill Kaderly Turns Wood and Rocks into Fanciful Folk-Art Creations

by Rebecca Fitch

New Mexico is known as the Land of Enchantment for many reasons, but none as unexpected as what one finds in the tiny village of Gila, off scenic Hwy. 180. There, in the midst of the desert hamlet, looms a large and conspicuous purple adobe wall with a vibrant neon-green "Gallery" sign beckoning passersby to stop — or, at the very least, slow down — long enough to notice the colorful and playful artwork of Bill Kaderly. 

Kaderly, 69, a retired upholsterer from Ojai, Calif., has managed to carve out a niche for himself as a New Mexico visual artist and friend of nature. He makes almost daily treks in the Gila riverbed and nearby mountains to retrieve free material for his art: cottonwood, pecan and willow roots and logs, stones and other material exposed by heavy floods and rains. Most people would simply pass them by, considering the dead wood nothing more than trash or possible firewood. But in Kaderly's hands each unique piece of root, wood or stone has the potential to become a whimsical work of art that one might find in the make-believe worlds of Alice in Wonderland, Willie Wonka or the Wizard of Oz.

"If it can't outrun me, it's gonna become art," Kaderly muses. "Mother Nature actually does the piece; I just finish it for her. If I don't do something with it, the next flood will take it to Arizona."

Kaderly's gallery is filled with "found" art: neon-colored masked wood, stone and citrus-peel figures and wooden sculpted creatures inspired by nature and science fiction. Some of his pieces move, gyrating provocatively to the music of the wind. Other pieces, which he refers to as his "audience," hide behind colorful masks, sunglasses and hats, some with obvious sexual undertones, others impishly smiling or displaying long, red tongues that would make Gene Simmons of KISS fame cringe with envy.

Everything about Kaderly's work reflects his sense of humor and use of color.

"I am a self-learned artist, and by that I mean I have not been taught anything. I'm not teaching myself and I haven't studied art, but I am learning by doing. I always tell anyone who asks that I have an AA Degree — Accidental Artist," Kaderly says jokingly.

Kaderly stumbled upon his artistic abilities after working 42 years as an upholsterer. He did his upholstery work mainly outdoors, as he does now at his gallery. He enjoyed picking and eating oranges from his neighbors' orange trees, and noticed the citrus peels took on a life of their own once they dried in the hot California sun.

"I began playing with the citrus peels, and started making masks — faces seemed to be right there in the dried peels," he says.

The next thing he knew, he had a small collection, which he shared with some friends who were artists, and he was invited to show his work at the local gallery in Ojai. The theme was masks, and Kaderly sold his first piece of artwork made from citrus peels for $75.

"After that I was hooked," he says. "I was told by my artist friends that being a furniture upholsterer was art because it involves color and making things with my hands. I had never thought of my work that way. As for having artistic talent, I was very surprised. It might have been there all my life, but I'd had no chance to explore it until I was in my mid-50s."

Still, he says he has trouble thinking of himself as an artist because he has so much fun doing it. "I have great respect for artists, especially if they are working in their art to make a living for their family."

Having bona fide artists calling him an artist and encouraging him to explore his creative side furthered his enthusiasm about the work he was doing, Kaderly says.

"I think it might be hard for some artists to get as much pleasure out of their art as I do mine," he adds. "It is a great source of pleasure for me. How many people can say they can live with what they have created, whether it's art or their own life?"

That first success led to him making more masks and flowers from citrus peels — "doodling," he called it. Later, he fashioned spiders from dried banana peels, relying on his skills as an upholsterer to further his newfound love of creating art.

Kaderly moved to Deming with his family in the 1970s and lived there for 15 years. The Gila area was a favorite destination for the Kaderlys to explore nature, swim, hike and camp. He returned to California to work in his upholstery business for about 10 years, then retired and returned to Gila, the place that had seemed most like home to him.

He began exploring the Gila riverbed and mountains. Soon he was bringing home unusual pieces of driftwood, cottonwood roots and stones that seemed to have faces and shapes that lent themselves to being brought to life as art. To date, he guesses that he has explored more than 20 miles of the Gila River in search of free material for his art. He spends most of his summer gathering and the rest of his time creating, he says.

"My favorite part of doing this is finding a piece in nature, bringing it home and finishing it," Kaderly says, "I love the freedom of bringing it to life, and nothing thrills me more than seeing the reaction of others, hearing their comments about what I did. It doesn't get any better than that."

His method is a labor of patience and love involving nothing more than handsaws, files, sandpaper, a drill and lacquer for many pieces, and, of course, the bright, neon acrylic paints that bring to life his most fantastic creatures — everything from snakes and dragons, to octopi, seals and sharks. He also crafts mysterious, brightly painted figures wearing sombreros — all made from dead wood, twisted and gnarled roots.

His fine-art sculptures (yes, some are nudes) are created from a variety of stones he finds in the river beds and mountains. His fine-art acrylic paintings are inspired by what he finds in nature as well; they are eye-catching pieces that seem to move and change with the lighting in the gallery.

The courtyard of Kaderly's gallery is a virtual maze of "helpers" — wood and stone carvings that appear to be whistling, talking, singing, mocking and begging for attention. They are his audience as he quietly goes about his work amid the chirping of birds in the trees and the scurrying and watchful eyes of desert lizards all around him.

Masked faces have remained a favorite theme in his work. "I truly like masks," Kaderly says. "You take someone plain — average like me — and you put on a mask and you can get away with anything. You can be mysterious, exciting, silly or sad. The mask hides the real you. Behind a mask you can do things you might otherwise be embarrassed to let anyone see."

One might say the mask is off with Kaderly's art because it is loud, colorful, bold and begs to be observed. The gallery is the stage for his art, and the peaceful setting allows the observer time to contemplate each piece in a game of "Do you see what I see?"

 Some might argue Kaderly has simply modified the objects he finds in nature, but his work goes much deeper than that. It's what he does with an object that changes the observer's perception and the utility of it that gives it the status of art. Once the casual observer realizes Kaderly has found a unique way to help clean up a traumatic natural event, his work becomes an emotional cause as much as a fun piece of art — he is recycling nature.

Kaderly's work is also featured in a YouTube mini-documentary posted in October 2011. It features Kaderly describing how he collects and creates his art from free things found in nature, as well as his paintings and sculptures inside his gallery in Gila.

The story behind Kaderly's work is about seeing the potential in harvesting free materials provided by flooding that rips out entire trees and exposes what the average person would view as useless.

His paintings are thoughtful and provocative, but his sculptures remain his favorite because they allow him to use more of his senses: Seeing a drab-looking piece of wood and drawing out its colors naturally or with paint. The sound of sandpaper on the wood and listening to the sounds of nature. Feeling the wood go from rough to smooth under the guidance of his experienced hands. The smell of the wood, the lacquers and paints and the scent of the many flowers growing in and around the gallery courtyard.

"Anything sculpted needs to be looked at, touched," he says. "It's as if it is saying it needs to be touched."

Kaderly welcomes visitors to his gallery, but recommends calling first, because he may be out harvesting pieces for his collection (575-535-2897)

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