For fifteen years I have created fluted ceramic wheels, discs and conical forms, carved radii emanating from a focal point is the basis for a multireferential abstract language. Spherical model of the universe have influence these circle forms. The 18th century German philosopher Jakob Bohme created geometric circular diagrams to communication ideas about the cosmos. Similarly my sculpture seeks to express the macrocosm through the microcosm.
The circular format is dense with symbolic meaning in every culture. Pi discs, smooth circular forms with a circular void in the center, were placed on bodies at burials in Neolithic China. The Pi discs were believed to provide access to eternal life. The Gothic Rose window served a related function in Medieval Europe. Abstract expressionist painter, Jay DeFeo created her masterwork, “The Rose”, from 1958 to 1966, is essentially a high relief painting made of heavy paint and other materials with 3D linger elements emanating forms- the solar disc, the mechanical cog, or radiating forms in nature, waves of wind and water.
Yet, I’ve realized that the work has also evolved from my family experience. My parents left Europe after WWII to start a new life in the USA. My parents had studied weaving and design in Zurich under the tutelage of Johannes Itten. My father continued in weaving and textile design in NY. My mother focused on secretarial work and raising a large family. Nevertheless, she has spent part of every day knitting and needle-pointing to create elaborate sweaters and chair coverings. Her example as a productive “maker” with great capacity for repetitious handwork, was a quiet yet powerful influence. In the same spirit, I have used the repeated movement of a carving knife to created reticulated sculptural objects.
From 2000-2002, a focus of my practice was a bronze sculpture, “Origin”, that measures 67” in height. The sculpture was fabricated at Tallix in Beacon, NY. I created a life size maquette and worked closely with foundry artisans to produce the completed bronze. The larger scale format provided an opportunity to change my ideas about carving. I carved flutes of varying depth within the clay mass. Where groupings of flutes dive down deep, cupped areas or depressions are formed instead of linear fissures.
A final development is an interest in installations. Since 1993, I have experimented with installations because I have wanted to incorporate issues and other interests more overly within the context of the work. Although installations are not a new idea for me, in 2003 I will formally present my first such work at a solo exhibit at the Schein-Joseph Museum at Alfred University.
十五年来，我创作了许多有槽沟的陶瓷作品，其造型大部分是轮子，碟子和一些圆锥体。在这些造型中，从作品的中心延伸出来的半径是这些多指向抽象语言的基础。地球的造型影响了我对这些圆形作品的造型。18世纪的德国哲学家雅各布·伯麦最早开始使用几何圆形表达其宇宙观。同样。我的雕塑作品也是试图以微观的体系来体现一个宏观世界。
在每一种文化中圆形都有着丰富的象征含义，在中国新石器时代的陪葬品中就有一种边缘光滑中间镂空的圆盘壁，人们认为这种壁会使人得到永生。中世纪欧洲的天主教的玫瑰天窗也有这个意义。抽象表现主义画家杰·德菲奥在1958年至1966年期间创作了他德代表作“玫瑰”，从根本上讲，这幅“玫瑰”作品是件高浮雕绘画，由厚重的颜料和其他材料构成，从中心点向四周释放出三维般的线条。同样，我的作品中也有这些传统的造型：太阳轮盘、机械齿轮、生活中呈发散行的造型，以及风与水形成的波浪。
然而我发现，我的成长经历对我的作品由很大的影响。我的父母二战后离开了欧洲，来到美国开始了他们新的生活。原来在苏黎世时，我的父母曾在乔安斯·伊坦的指导下学习纺织和设计。来到纽约后，我父亲继续从事纺织和纺织品设计，母亲改行做了秘书来供养一家人。尽管如此，她每天仍然会抽出一些时间来编织刺绣精美的毛衣和椅垫。她在重复的手工劳动中显示出巨大的创造力，这对我的影响是潜移默化却又无比巨大的，正是在这种影响下，我才一直使用刻刀在作品表面刻出网状图案。
从2000年-2002年，我的艺术创作重点就是青铜雕塑作品“起源”。这部作品高达170cm的雕塑作品制作基地是在纽约州比肯市的泰力克斯。我做了一个真人大小的模型并且与铸造工人一起完成铸造工作。大尺寸的作品使我能够有机会改变了对雕刻艺术的看法，陶土的厚度足够我在不同的地方刻出深浅不一的沟槽，一组组简单的线性沟槽被一组组立体交叉的沟槽所代替。
最新的发展就是对装置作品发生了浓厚的兴趣。1993年起，我一直在尝试装置作品，因为我向更直接地在整个作品的框架中将各类问题以及其他所感兴趣的内容融会在一起。虽然这种装置作品对我来说不是最新的想法，但2003年我这一系列的作品正式在阿尔弗雷德大学德斯卡恩·约瑟夫博物馆举行的个人作品展上首次展出。 |
