Ciliax (pronounced see-lee-ax) still treasures the open space, solitude and freedom of Nevada he knew from his youth.

Ciliax's grandfather, Ira Proud, came West as a small boy from Michigan in a covered wagon and was raised on a stage stop in Idaho. Ira left home as a young man, catching wild horses in the great basin of Nevada as he made his way south. He was hired on to drive a wagon team to Goodsprings, Nevada, arriving in 1903, and stayed there the rest of his life. The CX brand on Carl's work is from a branding iron made for him by his Grandfather Ira.

Although Carl Ciliax didn't grow up with horses, it was only a matter of time before they were a big part of his life. Out of high school, he started working for an outfitter guiding Desert Big Horn Sheep hunters. It was a horse outfit and it didn't take long before he was riding his own horses and became partners with a friend in their own guiding business. The next years were spent guiding, showing and training horses, which included roping and rodeo.

After 20 years working for another company, Ciliax resigned and moved to Arizona. He intended to take some painting classes while searching for the artist inside he knew was there. Looking over the classes at the Scottsdale Art School with the thought of becoming a wildlife painter, Carl noticed Mehl Lawson was teaching a class on sculpting. He never did take a painting class. He has found his art form.

Ciliax explains, "I attempt to sculpt a feeling I want to share, not just recreate an image. After I've processed the idea, and can see it in my mind, only then does it begin to take a form. I usually don't do any sketches, it just rolls around in my head until it's ready to come out. At that point, I research to support the image that is formed."

It's important to Ciliax to keep focused on the integrity of the composition to make sure that underneath the detail, there is a sound sculpture. He adds, "The detail in my work just seems to be what comes out. I also enjoy loose spontaneous work, and I'm experimenting with it."

He continues, "I use the word respectful to describe my work because that is how I feel about my subject matter. I have seen our western heritage portrayed commercially and inaccurately on a regular basis. I like to think that I¹m sculpting for the people that have lived it. My intended viewer appreciates what this all represents, that it won't be here for much longer. I try to capture the pride and dignity of the people, and honor the good horses I remember."