David Hostetler was one of America's greatest living sculptors before his passing in late 2015. A distinctive figure with rugged hands weathered from five decades of carving, the bearded eighty-two-year-old artist possessed an unmistakable gift for discovering feminine forms hidden within wood.
The Artist's Vision
Hostetler's studio overflowed with massive logs sourced globally—Indian Laurel from Sri Lanka, Cherry from Nantucket, and Zebra wood from South America. His philosophy was deceptively simple: "There's a woman in every tree." He approached each piece as a quest to unearth the sculptural figure already present within the material.
His fascination with the female form was unwavering and deliberate. As he explained it, women embodied qualities he found endlessly compelling: "Women are the warmth, they are the ideal form, exotic yet pure." Over his lifetime, Hostetler created approximately 600 sculptures housed in museums and galleries worldwide, with notable pieces displayed near Trump Tower in New York and the Kennedy Library in Boston.
Humble Origins and Artistic Development
Born in Beach City, Ohio, Hostetler grew up deeply influenced by his nurturing mother, describing himself as a "momma's boy." He enlisted in the Army at seventeen during World War II, eventually studying engineering at Ohio University. A training accident left shrapnel embedded in his leg, and during his recovery in 1946, a bunkmate who was a watercolor artist introduced him to creative expression through Red Cross art supplies.
His formal artistic training came at Indiana University, where he studied under mentor Karl Martz. This professor's teaching philosophy profoundly shaped Hostetler's understanding of authentic artistry. Martz demonstrated that creating art wasn't about volume or productivity but about meaning and intention.
Teaching and Evolution
For over thirty-five years, Hostetler taught art at Ohio University in Athens while maintaining his own studio practice. His students included notable artists David True, Harvey Breverman, and Jim Dine. Colleagues remembered him as patient and encouraging, celebrating life through artistic expression.
Though he spent over a decade collaborating with Dine in New York City studios, Hostetler ultimately retreated to rural Ohio. He recognized that urban success was disconnecting him from his authentic self and artistic vision. Returning to his woods, he found what he described as his own "Disney World"—a sanctuary where he could work on his terms, unfettered by commercial pressures or industry expectations.
Methodology and Craft
Hostetler remained committed to traditional hand-carving techniques using gouges, rejecting modern power tools. He described the repetitive carving motion as meditative: "The removal of the wood is a very mantra-esque act. I get into a rhythm just like playing the drums." This deliberate approach meant his sculptures often took months to complete, a timeline he considered essential rather than inefficient.
Personal Journey and Relationships
Hostetler's "butterfly years" during the 1970s represented a period of intense personal searching. He traveled extensively and experienced numerous relationships, seeking understanding about himself and his place in the world. Through this tumultuous era, he created some of his most celebrated works, including the Walking Woman and Dancing Lady series—pieces that introduced movement and dynamism to his sculpture.
In 1983, Hostetler found lasting partnership with Susan Crehan. Their 1986 marriage was predicated on an unusual prenuptial condition: his art would always come first. She agreed, and their relationship ultimately inspired one of his greatest works, a monumental thirteen-foot sculpture titled The Duo.
Philosophy and Legacy
Hostetler held unconventional views about society and spirituality. He believed human civilization, shaped by patriarchal structures, would benefit from matriarchal values. After nearly a decade studying Judaism, he ultimately identified as pantheist, finding spiritual meaning through nature rather than organized religion.
His most treasured possession was an enormous pre-Civil War oak tree on his property. He articulated his reverence for wood as material: "It's a living material. Its own existence is recorded in its calendar of rings." For Hostetler, creating art represented autobiographical investigation—a lifelong attempt to understand both himself and feminine strength within all people.
His final counsel emphasized the transformative power of pursuing genuine passion: "If you follow your bliss—It's very hard to lose. Because you've got your passion and nobody can take it from you."