OF INSTALLATION & SCULPTURE:
The show consists of four photographs and two sculptures. All of
the pieces use myself as source material, although they are not
self-portraits in the strictest sense of the term. Each one
includes a physical distortion of a subtle or very overt sort.
(Descriptions and commentary regarding the cibachrome images is
available at the cibachrome link listed below)
The first sculpture, Greeter, is positioned obstreperously
close to the glass doors, receiving visitors as they enter. Its
posture is intended to be simultaneously ingratiating and mildly
threatening. The piece is considerably larger than lifesize,
measuring about 6'3'' in a slouchy posture. (I am 5''7" at my
tallest.) It is realistically rendered, with the exception
of the grin which is exaggerated and prosthetic. The clothing is
sculpted, and might be recognizable to some as a utilitarian outfit that
I wear all the time.
The second sculpture, Exhibitionist, sits on one end of
the bench in the gallery. It is the inverse of the greeter at the
front door in terms of dress and posture- it is exposed and anti-
social. It is turning its back (literally) in a self-protective
gesture. The piece is 70% life size, although the prosthetic hands are
considerably larger than life size. This piece is probably less
about social ambivalence and more concerned with my relationship to my
work. It is partially about the tension between being a sculptor
and being a "sculpture" (ie- being the maker of an object
versus being objectified) I originally thought about the hands as
"the hands of the sculptor" in a cliche sense. During my
time in school, it was suggested to me more than once that I would be
better off as a painter because the difficult physical labor of making
sculpture would enlarge my hands in an unfeminine way. And
extra-large, expressive hands are of course a staple of traditional,
figurative (Rodinesque) sculpture.
hydrocal, oil paint, 30"x20"x23"
hydrocal, oil paint, 75"x22"x17"