Viewing page 16 of 28


Transcription: [00:34:42]
{SPEAKER name="Lisa Chickering "}
Here on the river that skirts Mayrhofen Alvin searches from unusual drift wood, although taught by his father in the traditional tool of carving, he began to feel that each piece of wood has a special rhythm and tension of its own and rather than put life into the wood as his father does, he searches for the life and expression already within it and brings it out.

As drift wood has the most various forms, he can envision as you can see with this piece the form about to emerge.

Asides from drift wood Alvin takes in all wood. Rhythm and grain and natural flow of lines. He begins on a large sculptor by first drawing what the wading wood has brought to mind.

From this sketch he works with clay. Molding it onto a wire and from the clay model he carves into soft wood, a small figure which serves as the model for his large figure.

This time of a Madonna. When he first became interested in model work it came as a great shock to his father.

He said 'well you'll spoil our name. I'll burn our house down before I let you exhibit it!' But after 5 years and much work Alvin finally won and now his father sees the beauty of his sons work as all can in this finished piece.

Otto's still busy working. His Madonna being in the classical vein and it's readily seen even in the process of being carved, the vast difference from the father and sons style.

This Tyrolean hand painted chest has been in the Moroder family for 200 years and in it Otto keeps all of the many figures he has done of his family.

This small box seems to hold many fond memories for Otto, being of his son Alvin long before a whisker bedecked his perky little-

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact