William Schaaf’s artistic journey is one of self-discovery, healing, and a deep connection to the natural world. Now at 80 years old, Schaaf has spent six decades exploring the equine form in both painting and sculpture, a subject that has become central to his artistic expression. His work is not just a visual representation of horses but a tribute to the Zuni and Navajo fetish and doll makers, whose cultural influence has shaped much of his creative process.
Schaaf’s fascination with horses began with an epiphany that has stayed with him throughout his career. For him, the equine form embodies a powerful spiritual presence, one that he has used to explore his own inner world. This exploration has been more than just artistic; it has been a means of personal healing. Schaaf sees his art as a way to “fix himself up,” a process that he describes as using art as a healing agent. This idea of art as therapy is deeply rooted in his early influences, which instilled in him the belief that the spirit of one’s nature could be sought and found through the art process. Even after all these years, this belief continues to guide his work.
One of Schaaf’s key pieces, Tantra Gurl, exemplifies this approach. A bronze sculpture standing 24 inches by 24 inches by 36 inches, Tantra Gurl is a large fertility fetish, its patina designed to mimic the look of jade and turquoise, stones traditionally associated with healing. The piece was fabricated by Bronzart Foundry in Sarasota, Florida, a collaboration that has spanned 45 years. Schaaf speaks of the “patina game”—the technique of visualizing watercoloring with chemicals—as a way to evoke the healing qualities of these stones, adding another layer of meaning to his work.
In 2019, he held a one-person show at the Polk Museum in Lakeland, Florida. His work has been featured in different Florida museums. Recently, three of his pieces were selected by the New Mexico Museum of Art for their permanent collection. The museum’s Executive Director, Mark White, noted that Schaaf’s work filled a niche they had been lacking, describing the pieces as “indigenous,” with an ancient quality that seems to date back 12,000 years.
Schaaf’s connection to the natural world has also influenced his personal life. Decades ago, he lived in the Chelsea neighborhood of New York City, where he transformed his room into a gallery. However, after some time, Schaaf began to miss the trees and the natural beauty outside the city. This longing led him back to Florida, though he acknowledges that his heart truly belongs in New Mexico.
New Mexico holds a special place in Schaaf’s life and work. The state’s rugged landscapes and rich cultural history resonate deeply with him, providing a source of inspiration that has fueled his creativity for years. It is no surprise that his work has found a home in the New Mexico Museum of Art, where it continues to be appreciated by new audiences.
Throughout his life, Schaaf has also been drawn to the mystical and the spiritual. As a younger man, he trained in the psychic field, guided by a mentor who was part of the lineage of Paramahansa Yogananda. This background in spiritual practice has informed Schaaf’s artistic approach, though it is not something he often speaks about. For him, the connection between art and spirituality is deeply personal, a way to know himself and explore the mysteries of existence.
At 80, William Schaaf reflects on his life with gratitude. He considers himself lucky to have lived an artist’s life, one that has allowed him to explore his inner world and share his vision with others. His work continues to progress, but the core of his practice remains the same: a belief in the power of art to heal, to connect, and to reveal the true nature of the self.
