Artist's Statement

Ten years ago I discovered I had “good hands” when I sculpted the figure for the first time. However, my defining moment as a sculptor was in 2001 when I began to work on Monumental Woman, the first of a series of life-size, classically rendered obese figures which went beyond the intention of achieving verisimilitude. Whereas my artistic practice previously featured realism and attention to detail, with Monumental Woman these aspects were married to emotional content; body image issues, dignity, pain, and healing. These qualities continue to influence my figurative work.

Since 2001 I have worked almost exclusively with one model. With her my intention has been to challenge the classical “Greek ideal” and today’s waif-thin standard of beauty. Many have remarked that Monumental Woman and 50DD are reminiscent of the ancient, ample Venus of Willendorf. My inspiration, however, comes from the mid-century Earthly Bodies photographs of Irving Penn and the more recent fleshy paintings of Lucien Freud. Corpulent and honest, my figures explore in clay what these two artists explored in paint and film.

The Contortionist, a monumental bronze figure balanced atop a stainless steel wall, questions the extent to which an individual will risk mental and/or physical health to succumb/conform to societal pressure. In the development of this piece I spoke with a contortionist from Cirque du Soleil and discovered that we shared a similar perspective. While the contortionist may appear utterly calm, graceful, dignified, powerful, heroic and in control, in truth it is merely a painful act and impossible to sustain.

In the last two years I have departed from realism.
Cellulite Series, a new group of five figures celebrates the essence of the fertile, fecund, female form. Whereas earlier sculptures of my muse achieve verisimilitude, these ironically are minimalist in approach by addressing only the uniquely female anatomy, eliminating all extremities. I am intrigued by how Feminine Altar feels at once goddess-like and pagan. The freedom to simplify and exaggerate has been a pleasure. The surface texture reflects how I build body-mass with layers of lumps of clay until a generous fleshy form meets a sinuous line. I think of these ‘lumps’ as cellulite. In my realistic work the ‘cellulite’ gets blended together. In Cellulite Series I allow my process to show. The resulting pieces bear a resemblance to the human fragments in Penn’s images and to the sensual and playful sculptures of Ken Price.

In 2005, in an effort to try to help heal on a larger scale, I asked myself, “What if my art could help fight breast cancer?” The result of my query was Mamorial; a breast cancer awareness installation that has grown into a project echoing the AIDS Awareness Quilt. Mamorial reflects Joseph Buey’s theory on ‘social sculpture’ and Sol Lewitt’s definition of conceptual art, “The idea becomes a machine that makes the art.” Mamorial provides therapeutic healing for breast cancer survivors and a visceral awareness experience for the general public. Two-hundred-fifty survivors from twenty-three states have made molds of their cancer affected chests and have written about their breast cancer experience. The resulting life-casts and soundtrack of testimonials comprise the traveling multi-media Mamorial installation. Creating Mamorial and witnessing its powerful and healing benefits recently inspired Hallowed Ground; a new direction intended to combat systematic genocide.

I am neither a breast cancer survivor nor a relative of a victim of genocide. Yet, I find it meaningful that I am able to make a difference through my art. The practice of developing ideas, crafting images and objects feels as essential to me as food, water and shelter. I love making objects. I love making a difference. And I love making objects that make a difference.