The female figure, whether in realistic, abstract, representational, or mythical formats, has been a constant theme throughout my sculpture.

By using introspection and analysis, I’ve been able to discover the personal meaning behind each series. 

Motherhood 1990  |  4.5″ x 19″ x 5.5″ Media: bronze, blue patina |  Series: Nudes  |  Theme: Human body 


1974  The essence of this nude figure is captured within the lines of the drawing.

1974 | Nude | | pen & ink | 18"x13"

1982 | The body of this abstract nude mimics the lines of the 1974 drawing.

1982 | Godiva | bronze | 5"x4.5″x3"

1990 | The rough texture of this unfinished-bronze nude is unlike the smooth finishes of the 1980s.

1990 | Unfinished | bronze cast | 4"x4"x6"


Sculpture Titles

Five in Combat
Golden Age
Viking Prow
Abstract Nude
1994 | Five in Combat | Baltimore City Hall Exhibit
Five in Combat  |  1986  |  bronze |  10"x11"x10"  |  Theme: Finding Myself

Five in Combat is a metaphor for my life, in 1986.  Like many women who were multi-tasking, I too had many roles to juggle: mother, wife, nurturer, artist, art instructor, co-worker, and all else.  After casting and refining this five-figured sculpture, I realized each nude represented one facet of my life and was fighting for position, acknowledgment, and equal time.  Hence the title Five in Combat.

Five in Combat began with two clay female nudes (7" and 8" long) and their rubber molds. Once the molds were filled with layers of wax, multipe nude figures could be crafted. After the five-wax nudes had their own identities, I grouped them together. Sculpture should be interesting design from any viewpoint. It was a surprise to me, when I found a personal attachment to the piece.
Even though the top figure is the smallest, it finds the strength to attack the larger figure, that is perched atop the pregnant figure on the bottom. 


Torso Series

Golden Age
Viking Prow


In 1989, after 10 years of creating bronze sculpture, I wanted to streamline my casting method. My problem-solving approach (to art and life) is to focus on the WHAT…WHY…and HOW of an issue.  

WHAT…Develop a new visual for my next series of nudes. |  Transition to an easier method of casting bronze sculpture.
WHY….Save my time and energy.
HOW…Begin with new techniques and images. Omit the head, back and armsExperiment with thin-shelled torsos with legs (Overte’) and without legs (Innocence).  Use  ceramic-shell investment to simplify the casting process.

The conflict between external and internal identities is another of my recurring themes.  People who delve into their psyche may recognize their two identities, public and privateThe public persona gives a false representation.  It is a facade to mask the private feelings of agendas, inner thoughts, and hidden secrets.  Each nude’s outer-chromatic surface offers a pleasing persona…the inner-black cavity represents the darkness.

By using unassuming graceful silhouettes with hollowed torsos, I succeeded in respecting the dignity of the female body while streamlining the technical process.

 Twelve nudes were exhibited at the Katzenstein Gallery at Baltimore’s Inner Harbor, in 1991.


1989 | Overte' | ceramic-shell investment
Overte' for wall | 18"x13"x3.5" | front view
Overte' for pedestal | back view

1990 |  Innocence  |  8.5″x6″x5.5″ | right profile with back cavity- 3/4 front- left  profile views, respectively

1991  |  Golden Age  |  12″x19″x7″  |  back cavity- front views, respectively 


1990 | Maturity  |  bronze  | 10″x7″x6.5″ | right profile- front- back cavity views, respectivel

1990 | Motherhood | blue patina | 4.5"x19"x5.5"
1991 | Love | bronze | 10.5"x14.5"x5.5" 

1990 | Tenderness | 10″x7″x6.5″ | right front- back cavity- left front views, respectively


1991 |  Odette  |  bronze  |  8″x13″X5″  |  back cavity- left views, respectively

 1991 | Viking Prow | wall hanging


1980s  |  Abstract Nudes

1982 | Godiva | 5"x4.5"x3"
1980 | Reclining Nude | 7"x5.5"x7"
1980 | Untitled | 6"x2.75"x2.75

1981 |  Aerobic  |  bronze  |  5″x4″x4″  |  front-  back-  left front views, respectively