List of Sculptors Who Smoke Weed

• Evidence is limited and mostly contemporary – Unlike painters and musicians, sculptors rarely documented personal cannabis habits; most verified connections are from post-1970s artists
• “Sculptor” requires broad definition – This list includes installation artists, fiber sculptors, glass blowers, and performance artists who create three-dimensional work
• Functional art bridges the gap – Artists like Tony Greenhand and Bob Snodgrass create sculptural pieces from or for cannabis consumption
• Cannabis culture influences artistic expression – From Robert Arneson’s self-portraits to Chris Burden’s boundary-pushing performances, cannabis appears as both subject and potential creative catalyst
• Contemporary sculptors lead documentation – Modern artists are more open about cannabis connections, reflecting changing social attitudes and legalization movements

Chris Burden (1946-2015) stands as the strongest documented case of a sculptor using actual cannabis in his artwork. Known for extreme performances like “Shoot” (where he was shot in the arm) and “Trans-Fixed” (nailed to a Volkswagen), Burden incorporated cannabis directly into his conceptual pieces.

• Artistic medium: Performance art and installation sculpture
• Cannabis evidence: Cannabis used as material in artwork – Created “Coals to Newcastle” (1978) using rubber band-powered toy airplanes to fly joints from California to Mexico
• Cultural commentary: Inscribed joints with “Fumenlos Muchachos” (“Smoke it, kids”) and staged a cross-border action from Calexico to Mexicali using model planes carrying joints
• Academic influence: He later taught at UCLA
• Legacy: Work exists in performance art canon as documented boundary-pushing conceptual art

As Artnet News notes, Burden used marijuana as a material in Coals to Newcastle (1978), one of his most provocative conceptual pieces.

Robert Arneson (1930-1992) was a pivotal figure in the Funk Art movement and ceramic sculpture who incorporated cannabis imagery into his artwork as cultural commentary. His pieces are held in major collections including the San Francisco Museum of Modern Art.

• Artistic medium: Ceramic sculpture and self-portraiture
• Cannabis evidence: Cannabis depicted as satirical imagery – In “California Artist” (1982), marijuana imagery appears on the pedestal as part of a satirical self-portrait critiquing stereotypes about California artists
• Recurring theme: Used cannabis imagery as ironic response to criticism of California artists as unserious
• Cultural response: Explored themes of regional identity and artistic stereotypes through ceramic busts
• Legacy: Works represent early integration of cannabis culture into fine art ceramic sculpture

According to Artnet’s analysis, Arneson’s self-portrait directly connected his artistic identity with cannabis culture during a time when such openness was rare in fine art circles.

Tony Greenhand represents a unique category: an artist who creates actual sculptures from cannabis that are both visually striking and functionally smokeable. Often reported as Oregon-based (Albany, OR), he’s become the go-to cannabis artisan for celebrities.

• Artistic medium: Cannabis sculpture using rolling papers, tobacco leaf, and cannabis flower
• Cannabis evidence: Cannabis artisan known for functional joint sculptures – Creates functional cannabis sculptures as his primary artistic practice
• Celebrity clientele: Celebrity clients reported include Rihanna, 2 Chainz, and Tommy Chong; he’s also been featured in projects with comedians like Hannibal Buress and Nikki Glaser
• Price range: $300-$10,000 per functional sculpture
• Technical innovation: Each joint is “engineered to work as a joint, which means that while I’m creating it, I have to acknowledge different pathways in the design”

As Greenhand explained to Architectural Digest, “When I was young I used to make things out of clay. As an adult, I was working in the cannabis industry and I was rolling joints a lot.” For artists seeking inspiration for their own creative cannabis experiences, exploring Herb’s extensive Products Catalog offers access to various consumption methods that might complement artistic practices.

Melanie Bernier, a VCU-affiliated educator and artist, creates fiber sculptures that document and comment on cannabis culture’s evolution from underground to mainstream.

• Artistic medium: Fiber sculpture, fabric spliff packs, carved wooden joints
• Cannabis evidence: Cannabis culture as subject matter – Creates artwork exploring cannabis’ transition into the US mainstream
• Key works: “Colors 60/40” and “Colors 50/50” – spliff packs made of vinyl and thread with carved wooden spliffs
• Cultural commentary: Explores “what that might mean for ‘goofy weed culture'” and potential loss of underground cannabis identity
• Contemporary relevance: Represents academic artistic engagement with modern cannabis legalization movements

Bernier’s work provides crucial documentation of cannabis culture’s transformation during the legalization era.

Bob Snodgrass, known as the “Godfather of Glass,” represents sculptors who create functional art for cannabis consumption. He began selling glass in the late 1970s and later became associated with the Grateful Dead touring scene (often described as late 1980s onward), pioneering techniques that transformed glass pipes from simple tools into collectible sculptures.

• Artistic medium: Borosilicate glass sculpture and pipe making
• Cannabis evidence: Functional art for cannabis consumption – Created artistic glass pipes that became highly collectible
• Technical innovation: Widely credited with pioneering gold/silver fuming in the American glass pipe scene, using vaporization to create color-changing effects
• Cultural influence: Became a major influence in the Eugene/Pacific Northwest borosilicate community through his work and teaching
• Legacy: Trained generations of glass artists who continue the tradition of functional cannabis sculpture

Snodgrass’s work demonstrates how sculptural artistry directly serves cannabis culture through functional, beautiful objects that enhance the consumption experience. For those interested in exploring functional glass art, Herb’s Dispensary Directory connects users with locations showcasing artistic pipes and consumption accessories.

Tom Sachs, whose work appears in major museums including Centre Pompidou and has been featured by The Met, uses cannabis culture as a lens to critique consumerism and appropriation in contemporary society.

• Artistic medium: Sculpture, installation, and bricolage
• Cannabis evidence: Cannabis-themed conceptual work – Created “Bong Hit Station” (2013), a “tongue-in-cheek and absurd…detailed (and unnecessarily complex) guide to getting stoned”
• Artistic intent: Uses cannabis culture as critique of consumerism rather than personal advocacy
• Museum recognition: Works held in major international collections, bringing cannabis themes to mainstream art institutions
• Cultural commentary: Transforms everyday cannabis consumption into complex ritual through artistic lens

Sachs uses cannabis culture to explore broader themes of consumption, ritual, and American identity.

Bentley Meeker creates light installations and sculptures that repurpose actual cannabis paraphernalia into high art. His “Bongoliers” – chandeliers made from repurposed glass bongs – exemplify his approach to elevating drug culture objects.

• Artistic medium: Light installation and sculpture
• Cannabis evidence: Cannabis-themed sculptural work – Creates art using actual bongs and cannabis imagery
• Key works: “Bongoliers” displayed at National Arts Club, NYC (2015) and “Weed World” installation with cannabis plant depictions
• Cultural juxtaposition: Mixes high culture (museum exhibitions) with low culture (drug paraphernalia)
• Burning Man connection: Created lighting for three Burning Man temples (Transition, Whollyness, Promise), connecting to cannabis-friendly festival culture

According to Artnet News, Meeker’s “chandeliers made of repurposed glass bongs…juxtapose various sources of light, with some displaying a full spectrum.”

Dan Colen represents contemporary artists who engage with cannabis as cultural subject matter. His work “Life Marijuana” (2006) became a significant piece in cannabis-themed contemporary art.

• Artistic medium: Mixed media installation and painting
• Cannabis evidence: Cannabis as historical subject matter – Created “Life Marijuana” (2006) based on LIFE’s Oct. 31, 1969 marijuana cover/story image
• Key work: “Life Marijuana” (2006) – blew up iconic Life magazine cover featuring marijuana
• Market success: Price realized: £30,000 at Christie’s London (2011) — roughly ~$47k depending on exchange rate/premium
• Cultural documentation: Captures cannabis imagery from specific historical moment in mainstream media

As Artnet documents, Colen’s work represents the transition period when cannabis imagery began appearing in mainstream contemporary art markets.

The scarcity of documented cannabis-using sculptors before the 20th century reflects broader historical patterns. Unlike musicians and painters who often documented their personal habits in diaries, letters, and interviews, sculptors – particularly those working in marble, bronze, and other traditional mediums – maintained more formal public personas. Additionally, cannabis prohibition created strong disincentives for artists to document or discuss their personal cannabis use, especially those seeking institutional recognition or academic positions.

The contemporary shift toward openness about cannabis use among artists parallels broader legalization movements and changing social attitudes. Today’s sculptors operate in an environment where cannabis discussion is more acceptable, leading to better documentation of these connections.

The relationship between cannabis and sculptural creation falls into distinct categories:

1. Cannabis used as material/prop in the work (Chris Burden, Tony Greenhand)
2. Cannabis depicted as imagery/subject (Robert Arneson, Tom Sachs, Bentley Meeker, Dan Colen)
3. Artist has on-record personal use (requires primary documentation)

Artists like Chris Burden and Tony Greenhand represent works where cannabis appears directly in the creative output. Meanwhile, sculptors like Tom Sachs and Bentley Meeker focus on cannabis as cultural subject matter, using it to explore themes of consumerism, counterculture, and social transformation.

For contemporary artists exploring cannabis as part of their creative practice, understanding different approaches to consumption can inform artistic choices. Herb’s comprehensive how-to guides provide educational resources about various consumption methods and cannabis culture.

Perhaps the most direct connection between sculpture and cannabis exists in functional art – pieces designed specifically for cannabis consumption. Glass blowers like Bob Snodgrass and joint artists like Tony Greenhand create works that exist at the intersection of craft, sculpture, and utility. These artists have built communities and influenced cannabis culture through their technical innovations and aesthetic contributions.

This functional art tradition demonstrates how sculptural practices directly serve and shape cannabis culture, creating objects that enhance the consumption experience while standing as artistic achievements in their own right. Artists interested in this intersection can explore Herb’s Dispensary Directory to find locations that showcase or sell functional cannabis art alongside consumption products.