Sculpture
I work intuitively. The sculptures come to me like poems, beginning with an impulse. I have a strong foundation in sculpting from observation; using live models and the study of anatomy.
The winged-beings are rooted in the ancient Greek Nike figures. Further historical influences are the standing female Greek Korai, and much of ancient Egyptian sculpture. My work is an expression of the female form as archetype; within the context of different cultures and mythologies.
Some viewers see angels; others, avian humans, or triadic beings, composed of angel, animal and human. I often, consider the eastern concept of Bodhisattvas, who bringing blessings. In any case, these mythic, fairytale, beings, exist in “spaces of being”. Rainer Maria Rilke describes this in his Duino Elegies, as“raume aus wesen”. Like dancing shamans, they can be seen only briefly- between the flickering realities of liminal spaces.
Sizes:
- Small (5” to 15”). Appropriate for desktops and bookshelves.
- Medium (30” to 45”). Often require a pedestal.
- Life size pieces are possible by commission. All bronze works can be displayed outside.
This virtual gallery holds a small sampling. To see more, or for more information and price points, please contact the artist.
Concero II
Meadow Gatherer (large)
Dakini (female spirit series ) - Earth
Guardian
Duae-Animae
Figure with One Wing
Small Nike
Small Winged Being
Tiny Dancer
When Women Where Birds
Small Nike (green patina)
Meadow Gatherer (right side view)
Winged Being- Archangel
Caryatid- Torso
Small Bronzes - Group
The Technique
I sculpt in clay, wax, or plaster. Then, the works are taken to a foundry, where they are cast into bronze, using the the lost-wax process. All sculptors work closely with their foundry technicians to complete the final bronze sculptures.
During three-hour sculpture sessions, we worked from a live model, using clay on wire armatures. The professor offered individual critiques while we worked. At the end of class, with a group critique, we then tore down the sculptures, only to begin again the next day. Gradually your work would improve. You would “see” more. Finally, one day, you would get to leave the piece up to continue to refine it over several weeks. That was when you knew you had made progress, but also, that was when the real work began.
Though am grateful to many of my instructors, I feel most indebted to Professor Mark Oxman, who taught us to ~ stay away from sight gags, find and follow our own voices, and to “see”. Mark was a brilliant teacher. He used his humor, wisdom, and intelligence, to provide his fledglings with a vision of artistic integrity and an understanding of the rarity of true art.
Post MFA I have continued additional studies in - sculpture; water color, encaustic, egg tempera, and silk painting; book making and colored pencil technique. I am currently studying oil painting.
Sculpture Influences
Ancient Egyptian and Greek Archaic. Mix some African (Ife), Hindu, and Asian. Then fast forward to Michelangelo, Rodin, Manzu, Maillol, and Marini. I enjoyed the study of architecture! …as living, breathing, sculptural spaces. Other sculptors of note include: Calder, Louise Nevelson, Brancusi, Degas, Mary Frank, Magdalena Abakanowicz, Lee Bontecou, Giacometti, Malvina Hoffman, and Henry Moore.
Art Training
Sculpture, Drawing, Etching, Painting, and Art History
I went to art school in the late 70’s and early 80’s, a time when working from the live-model and having classical training was almost non-existent. The Art Department of American University in Washington, DC. (still adhering to the approach of observation from life) was a great match. For me, this training was invaluable. In addition to my focus on sculpture, I had hands-on studio classes in painting, etching and drawing, plus, lots of art history.