STATEMENT

 

Now that I am in the Venus of Willendorf stage of my life, my interest in the human figure has been rekindled. I have come to a new appreciation of the beauty of the human form. As a result, I have been integrating even more of human figure into my visual vocabulary. My goal is not a literal portrayal of the nude but an conceptual, symbolic archetype. The figures are heroically perfected. I create the idealized figurative form that all of us aspire to but rarely possess. Although stylized, they possess a high degree of realism. They are sculpted in the form of wall reliefs, small free standing sculptures and medallions. Through my sculpture, I hope to express my feelings about the human condition as well as my feelings about the infinite levels of male/female interaction and the environment that surrounds them - earthly, celestial or aquatic.

 

The boundaries between fantasy, reality and surreality are not necessarily firm. I love to explore and manipulate these amorphous boundaries. For years I have created fantastic winged, feathered and finned creatures in both two and three dimensions. My creatures are seldom purely realistic. They are whimsical, anthropomorphic and capricious. They fly, swim or otherwise waft through their environments. They are inspired by my lifelong fascination with the beauty of natural forms - clouds, shells, stones, branches, wings and the fanciful imagery from classical Greek and Roman mythology.

 

The sculptural elements of clouds, shells, wings, and fragments of human form (faces, heads, hands, eyes and torsos) have always captured my imagination. I find that fragments can be more powerfully evocative than the whole from which they are extracted. I enjoy arranging fragments symbolically. The arrangements are intended to evoke the fascinating complexity of human relationships and interactions by means of their positioning. Since all the elements of my work are all designed separately, at times they are presented on their own as miniature sculptures. It is my intention that my individual works as well as the arrangement of my multiples contain depth, meaning and relevance in the twenty first century.

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