The really neat thing about carving pumpkins is that it’s a transformative activity. You’re taking a smooth surface — an organic substance (no two pumpkins are the same) — and changing it into something that resembles a human being. What’s even better is that it doesn’t last — perhaps that’s why I like both pumpkin carving and sand castle building. Neither one of them are permanent art installations; both forms of art are ephemeral. Oh, and they are also architectural. I love planning out how a pumpkin’s structure will support whatever I carve into it, and how to create a relief impression. Given the varieties of light and of differing layers in the pumpkin skin, I have successfully carved entire landscapes of...

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