The Shape of Speed: A Masterclass in Motion with Dennis Hoyt

Torqart: Your lifelong love for cars and motorsport is well-documented. Can you take us back to your very first automotive sculpture?

DH: My initial artistic endeavor featuring automobiles as the subject matter was titled “911 Oblique.” Conceptually, this piece represented a significant departure from the conventional expectations of automobile enthusiasts. In retrospect, I recognize that it encapsulated the essence of my imagination. The primary objective was to capture the character lines of the Porsche 911 from an oblique perspective. This involved presenting the left rear taillight and fender line, or the overall shape of the ‘C’ pillar, from the ground, looking up and forward.

Torqart: That's a unique approach—what was it about the Porsche 911’s form that lent itself so well to capturing that specific angle?

DH: Initially, my attention was drawn to the symmetry of the lines and their harmonious integration with the overall design. While maintaining a literal interpretation of the car, I simultaneously grappled with the underlying purpose of this design and sought to elevate it to a level of unparalleled excellence.

Torqart: Could you tell us about the first piece where you consciously integrated 'airflow' lines? How did you approach sculpting such a fluid concept into physical form?

DH: The first time I consciously considered airflow was during the creation of my second piece titled “Laminar Flow.” The background of the car was meticulously carved with a series of elevated lines that mirrored the exterior surface of the car’s top. At that juncture, I was still endeavoring to adhere to the established guidelines and conventions that governed the accepted parameters of the art form.

PORSCHE 91 I OBLIQUE

PORSCHE LAMINAR FLOW

Torqart: Can you walk us through a new project from the initial sculpting to the final finish, including the types of paints or dyes used?

DH: Once the sculpture is carved, I will bleach the wood with wood bleach and determine the primary color for all related pieces of the work. The color is applied using aniline dyes. The dye allows the grain of the wood to be visible through the dyes, thereby enhancing the true nature of the medium.

I utilize aniline dyes because they enable me to achieve actual colors, unlike wood dyes that are usually light brown to brown. Initially, I lacked access to knowledgeable individuals who could answer my inquiries, so I relied on trial and error until I discovered the optimal method for applying powdered dyes to the wood with varying degrees of saturation.

FERRARI 312 F1

Torqart: What are your essential wood-sculpting tools?

DH: To expedite the process of reaching the core of the piece, I employ various tools such as chainsaws, chisels, grinders, rasps, and knives.

Torqart: Why did you settle on Basswood as the ideal starting blank for your sculptures?

DH: Basswood possesses a subtle grain pattern, is receptive to dyes, carves with relative ease, and exhibits exceptional stability once cured.

DENNIS HOYT PICTURED WITH HIS SCULPTURE: FERRARI - SCHUMACHER "FIFTH JEWEL IN THE CROWN"

Torqart: Subtractive sculpting can be unforgiving if something goes wrong. Do those occasional deviations ever force a shift in your original vision, and therefore alter the final outcome?

DH: While this is generally not a concern, occasional deviations from expectations can sometimes lead to unexpected outcomes that can be beneficial and transform the piece in a novel direction.

Torqart: How do you determine the scale of a piece? Is it a creative choice or is it often dictated by the physical limitations of the wood blanks available?

DH: In the realm of sculpture creation, I primarily focus on larger-scale pieces. However, I recognized the importance of aligning my artistic vision with the preferences of my clientele. Consequently, I have dedicated myself to exploring the most acceptable directions for my work. Notably, the average length of my sculpture’s ranges from two to four meters.

FERRARI 275 GTB C

Torqart: Looking back on your body of work, tell us about the projects that stand out as your personal favourites.

DH: In retrospect, there are several works that stand out. (1) SV13 is a free-flowing interpretation of colors and shapes. (2) REDD is more of an expression of modernism. The inspiration for this comes from one of my favorite paintings by Marcel Duchamp’s ‘Nude Descending a Staircase No. 2.’ (3) The Ragged Edge was my first depiction of speed and motion. All of these works are abstractions, each with its own unique approach and concept.

RED BULL "SV13" ABSTRACT

Torqart: Most people know you for your three-dimensional work, but have you ever felt the pull to move away from tangible sculptures and back toward traditional 2D painting?

DH: I did a few paintings, but my client base wanted the medium I was known for, sculptures in wood.

Torqart: Your full-scale F1 sculpture is a monumental feat. What were the unique challenges of planning and executing a piece of that magnitude?

DH: My primary challenge was the time constraint, as I had only seven months to commence and complete this project. Other significant challenges included securing all the necessary wood and steel tubing, having the four wheels turned on a lathe, and the ability to construct the vehicle in modular pieces that could be assembled on-site upon completion. Additionally, I needed to create tires that simulated the characteristics of real rubber tires.

F1 SCULPTURE 1:1 SCALE

Torqart: What is currently on your workbench?

DH: Working up details of the 2026 Cadillac F1 car, without proper photos of the car.

Torqart: With the 2026 season about to get underway, hopefully you’ll have all the reference photos you need very soon – we’ll look forward to seeing the sculpture when completed!

Torqart: What is your next great challenge?

DH: My primary challenge lies in demonstrating to the automotive audience and clients that automotive sculpture does not or should not be confined to literal representation. A notable example of this mindset is the prevalent belief among males that sculptures must possess wheels, resemble their vehicles, and evoke nostalgia for the past or present state of automotive design. However, I have observed that as I deviate from this literal approach, my work loses interest among male viewers.

During an exhibition at Pebble Beach during the Concours d’Elegance, I noticed a striking disparity in how females and males perceived my sculptures. While males primarily viewed them as automotive art, females recognized them as abstract art, with a significant margin of 10 to 1. This observation underscored the fact that women perceived the aesthetic qualities of the shapes, the contrasts of materials, and the non-symmetrical lines as genuine artistic elements. My objective is to engage with my work and contemplate its artistic significance.

In the past, I was approached by an individual who requested my services to design a sculpture with dimensions of 100 feet by 40 feet. I was delighted by the proposal and invited him to outline his project. I was eager to develop the concept further, but after our subsequent phone call, which covered several key points, we mutually agreed to discuss the matter further.

Since that phone call, there has been no further communication. I have verified his identity through online research, and I can confirm that he is not a scammer. Despite this, I am still interested in pursuing a project of this scale.

Torqart: You’ve built a world-class legacy. Looking back, what has been the most rewarding aspect of your career as an artist?

DH: The realization that I can earn a living pursuing an activity that genuinely interests me and garner acceptance from individuals who are willing to invest in it is, in my opinion, the most gratifying accomplishment.

Torqart: Thank you for sharing your story and insights with us today, Dennis.

Check out Dennis’s website to see more of his incredible sculptures… https://www.dennishoyt.com

LAMBORGHINI MIURA

PORSCHE GT3

"REDD"

PORSCHE 917