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  Horse-birds: The Beginning

1980: "One day, as I manipulated the wax, to make new abstract nudes, a horse's face appeared. Then horns, ears, and bird-like wings
(Horse-bird #1). I was having an out-of-body experience, and felt as if I was watching another person create this new image. Ultimately, the horse-bird series changed my aesthetic direction."


From the mid '70's to early '80's, Nannette's bronze sculptures were abstract, Henry Mooreish, and had smooth surfaces, as in Reclining Nude.  

However, once the wax horse-like face appeared in Nannette's hands, the wings and body quickly took shape. Letting the wax dictate the direction of the image and surface textures (a mixture of rough and smooth), Nannette was amazed to watch the right side of the body jut forward, while the left side indented and was almost nonexistent. This was a new beginning for Nannette and her art.

      Reclining Nude,
bronze, 1980, 4"x6"x4"                                                       Horse-bird #1, bronze, 1980, 8"x7"x6" (side and front views)


Nannette's new subject matter and style evolved even further with the second bird, Attack. Here, she incorporated one of the nude abstracts. The menacing horse-bird looms over the smooth-abstract image; the new theme has no legs and looks as if it is growing out of the old-style image.


In Animus, two short legs and one foot materialized, and the image could stand on its own. At the time, Nannette was studying Carl Jung and knew Animus' presence represented her masculine side. Both feet emerged between 1984 and 1985, with two welded sculptures, Best Foot Forward (brass) and Awakening (steel). All came to fruition in the final-bronze grouping, Family Reunion. In 1996, the bird reappeared in Take-off, a fiberglass and mirror magnet.

bronze, 1981, 7"x7"x5"                                                          Animus, bronze, 1982, 10"x12"x4"            

     Best Foot Forward, brass,1984                 Awakening, steel, 1985, 17"x18"x12"                  Take-off, fiberglass/mirrors, 1996

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