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Eino's immigration to the United States was the direct result of what he refers to as a "psychic communication."
"It occurred when I was asleep, but this was much more than a dream," Eino says. "When I awoke, I knew that I had to go, as soon as possible, to America." The year was 1962, and though he spoke no English, Eino found himself in New York City within a week's time. Initially he found work as a dishwasher, but after living and working in Manhattan for six months, Eino felt that his future was in the West. Packing his few possessions, he drove to Los Angeles, once again trusting his inner voice.
After arriving in California, Eino quickly realized that in order to advance his position, additional education would be necessary. Speaking just passable English, he enrolled in Santa Monica City College, with the intent of studying psychology. During this time, he supported himself by delivering one thousand newspapers each morning before classes began.
Midway through the first semester, Eino experienced yet another "vision." This time he found himself enveloped by a green light, and he was told that his future path was as a sculptor. He immediately sought to change his major to art, and through relentless lobbying, he received permission to join a sculpture class already in progress. Barely twenty-four hours later he sold his first piece, a figurative work in clay; a passerby saw the work in the art studio window and offered Eino $100. By the end of the semester, Eino had been given half of the available studio space for his personal use, as he was already producing life-size works. Eino continued his formal art education for the next two years, deriving his income from the sale of sculptures that he created. These works, executed in both stone and bronze, were exhibited in local galleries. Media interest in Eino's work was high, resulting in commissions for many prominent families in the Los Angeles and Beverly Hills communities.
Early in Eino's career he was advised regarding what subjects would "sell" and what media were popular. If the prescribed path was adhered to, financial success would assuredly follow. Eino chose not to follow this dictum, as it was in direct opposition to what he intuitively felt art should be. Throughout Eino's career he discovered that there is a multitude of people who believe as he does, and his success as an artist has never suffered because he chose the path less traveled.
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In 1966, Eino received his first public commission, "Oneness," a life-size marble sculpture for the City of Santa Monica, California. This piece was the first in a series of contemporary figurative stone sculptures created throughout the 60's. Primary to the artist in the execution of these pieces was the incorporation of human emotions; a viewer was invited to not only see, but to "feel."
Following the "Expressionistic Series" came a body of work in which the "space" was as prominent as the "mass." In carving these sculptures, Eino expanded his understanding of the physical properties of stone, and to what extent it could be manipulated. This new insight allowed the artist to introduce the element of "playfulness" into his work, which he did with abandon in such pieces as "Toy Rock."
Space Series / Vitalistic Series:
While the "Space Series" illustrated form, in the "Vitalistic Series" the artist sought to showcase the inherent beauty of the stone itself. California Verde Marble, the medium chosen for this series, at first glance appears mundane and lifeless. Careful carving and polishing brings the natural coloration and markings to the forefront.
Light and Shadow Series :
Eino accepted a new challenge with the "Light & Shadow Series," to produce a body of work in which the primary sculpture of stone created a secondary sculpture in shadow. This series culminated with a solar-powered sculpture that made one complete revolution in a twenty-four hour period.
Fluidity and movement are the hallmarks of the "Origami Series;" delicate and flowing, the sculptures are gentle and inviting, welcoming the neophyte as well as the sophisticated viewer. The brilliant whiteness of the marble increased the series allure and it immediately sold out.
Discovery of a new and exciting stone on a fishing trip to Baja, California provided the impetus for the "Nature Series," Eino's largest body of work to date. The natural openings and vibrant character of the rock invited endless possibilities for exploration. An extremely hard surface offered another type of challenge. Drawing from a lifetime of experiences, each sculpture is the embodiment of a specific encounter between the artist and nature.
Portraiture and Last Meter:
Throughout Eino's career, he has continued to do "Portraiture," primarily in bronze. While early in his career he left the bronze casting to others, for the "Last Meter," he learned to perform the casting himself. The artist feels that the more he understands the casting process, the freer he can be in the creative process.
The "Wind Series" is an expansion of the "Nature Series" with an ingenious twist; the artist has put into form a basic element that previously was but a presence...adding motion completed the metamorphosis! This series will continue upon the completion of the artist's commissioned work.
Woven Sculpture is a unique technique that is the product of extensive research and trial-and-error in the studio. It is a style that is distinctively Eino, and is protected by copyright.
One of Eino's most ambitious projects is a memorial to the late legendary environmentalist David Brower. The work, which Eino calls "Spaceship Earth," is a 15-foot-diameter, blue-quartzite sphere, with a life-size bronze figure of Brower featured near its apex. This monument fuses Eino's rich and unique experience in sculpting both stone and bronze, and will hopefully be an inspiration to future generations.
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His art emanates from a mind that draws inspiration from, and is constantly renewed by, nature. In his work, Eino ventures into areas of marble sculpting that have not yet been explored by other sculptors. It is during these "speculative journeys" that Eino has created works of art that express dimensions of light and space equal in proportion to the mass of the stone. The pieces that emerge from his studio are distinctive because of the delicate balance between positive and negative space within the sculpture. While many stone carvers incorporate negative space around a piece, Eino often places it exquisitely inside of the body, resulting in a work, which the mass seems supported by the space.
Often considered a difficult, restrictive medium, Eino finds marble exciting and challenging. "I am not allowed to make mistakes in marble," he says. "Marble, like art itself, requires discipline and patience. You cannot rush the process."
The artist has completed numerous bronze busts for both public and private collections, as well as several life-size bronze figures. Eino is one of few artists who does all of his own bronze casting. He believes that the more he learns of the technical aspects of his work, the freer he can be in the creative process.
Once again seeking to "push the envelope," Eino has set for himself a new challenge within this medium. In an upcoming project, he will endeavor to produce a life-size figure in a single pour. Other artists have rarely, if ever, attempted this.
Eino uses his body as a tool for his art. To balance the physical and mental intensity of marble sculpting, the artist uses daily long-distance running and a well-balanced diet as part of his personal maintenance. His creative planning often begins during these early morning runs in the deserts of southern Nevada. Running frees his mind to create, to reflect, and to be inspired by the land and its beauty.
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