Category: Sculptures

The Expulsion

31” x 32” x 2”
2016
bronze, gold leaf

This is part of a series of Renaissance-style bas-reliefs depicting Biblical characters in appropriate attitudes and situations that mimic the design of contemporary traffic signs. My intention is the opposite of Jasper Johns’ when he painted flags and maps; I want to take an image that has been stripped of narrative, character and any human particulars– a sign– and make it back into a symbol. Here, the Children Crossing carrying their schoolbooks become a gutsy Eve leading an abashed Adam.

Daphne Reconsidering

1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Michael Bergmann

Daphne Reconsidering 2

modified ferrocement, fabric, 1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Paul Warchol

Daphne Reconsidering

1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Paul Warchol

Monument to Anonymous 2

modified ferrocement, 1984
31” x 23” x 33”

A monument to our most prolific sculptor, painter, composer and writer. As her/his name suggests, Anonymous is a mouse. Despite her/his absorption in work, one ear is tuned to our world. The other is focused on the page like a reading lamp. In its third public exhibition, in Central Park, NYC, Anonymous was installed on a pedestal with steps and was climbed on by over 10,000 people, not all of them children.

photo by Paul Warchol

Monument to Anonymous

modified ferrocement, 1984
31” x 23” x 33”

A monument to our most prolific sculptor, painter, composer and writer. As her/his name suggests, Anonymous is a mouse. Despite her/his absorption in work, one ear is tuned to our world. The other is focused on the page like a reading lamp. In its third public exhibition, in Central Park, NYC, Anonymous was installed on a pedestal with steps and was climbed on by over 10,000 people, not all of them children.

photo by Paul Warchol

Meanwhile 2

cast resin, 2000
48“ x 27” x 14”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for an installation at the DeCordova Museum & Sculpture Park in Lincoln, MA, an adult-sized boy’s head rests in a television as in a coffin.

Meanwhile

cast resin, 2000
48“ x 27” x 14”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for an installation at the DeCordova Museum & Sculpture Park in Lincoln, MA, an adult-sized boy’s head rests in a television as in a coffin.

Silent Head 2

cast resin, concrete, 1998
48“ x 27” x 20”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for a 2 year installation in the Leigh Yawkey Woodson Museum Sculpture Garden, the “talking head” of broadcast news confronts the viewer with the ancient gesture of silence and complicity.

Silent Head

cast resin, concrete, 1998
48“ x 27” x 20”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for a 2 year installation in the Leigh Yawkey Woodson Museum Sculpture Garden, the “talking head” of broadcast news confronts the viewer with the ancient gesture of silence and complicity.

Urn 3

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi.

Urn 2

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi

Urn

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi

Cain

bonded bronze, gold leaf, 2008
26” x 26” x 2”

From a series of Renaissance-style bas-reliefs depicting Biblical characters in appropriate attitudes and situations that mimic the design of contemporary traffic signs. My intention is the opposite of Jasper Johns’s when he painted flags and maps; I want to take an image that has been stripped of narrative, character and any human particulars– a sign– and make it back into a symbol. Here, the Pedestrian Crossing becomes the wandering Cain.