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 time and energy.
HOW:   Begin with new techniques and images. Omit the head, back and arms.  Experiment 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 private.  The public persona may give a false representation of one’s self.  It could be a façade to mask private feelings of agendas, inner thoughts, and hidden secrets.  Each nude’s outer-chromatic surface presents 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.

1991 | Katzenstein Gallery  | 12 nudes exhibited |  Baltimore’s Inner Harbor