Figurative Bust Sculptures

Critical Race Theory

Critical Race Theory (CRT) is currently a much-debated topic.  One of the most contentious aspects of the theory is whether or not this subject should be addressed in schools, and if so, at what age and in what manner it should be introduced (https://www.britannica.com/topic/critical-race-theory  ,  https://jacobsfoundation.org/en/even-babies-distinguish-good-evil/  , https://www.nytimes.com/article/what-is-critical-race-theory.html ).

 

Genetic Engineering

Genetic Engineering is an amazing and complex technology that is fraught with ethical concerns.  With this explosion of medical capability, it is easy to imagine incredible progress in disease mitigation and relief from suffering.  However, with this power comes significant potential for abuse (https://www.sciencedirect.com/topics/neuroscience/genetic-engineering , https://scholar.harvard.edu/sandel/publications/case-against-perfection-ethics-age-genetic-engineering , http://www.smatthewliao.com/wp-content/uploads/2008/07/liaoselectchildren.pdf?origin=publication_detail ).

The sculpture presents ideas about intellectual growth and eugenics.  Two figurative busts, resembling children, are carefully balanced on a seesaw.  The figure on the left is in response to the debate over critical race theory, provoking thoughts about when and how concepts of good and evil should be introduced to children.   The shapes and colors are soft and organic.  Upon closer examination, the viewer notices a snake and a lamb, which historically represent the concepts of good and evil, protruding from the skull.  The figure embodies conflict that exists in humanity.  The sculpture on the right addresses the complex issue of genetic engineering, a technology that promises some astounding medical breakthroughs, while raising the disturbing possibility of a move towards eugenics.  The double helix, enveloping the suggestion of a small child, raises awareness about the power we have to genetically engineer human beings.  We must remember, however, that with power comes responsibility.  The sculpture does not aim to provide a correct answer, but rather create a visual balance on a fine point.

Figurative Sculptures- Who's Protecting Our Children?- Air Dry Clay, Pastel, Wire, Tape and Fabric on Stained Wood Base- Dimensions With Base 18"X9"X4.75"

Who's Protecting Our Children- Air Dry Clay, Tape, Pastel (3.35"X4.25"X2")

Who's Protecting Our Children- Air Dry Clay, Tape, Pastel (3.25"X4.25"X2")

Who's Protecting Our Children- Air Dry Clay, Tape, Pastel (3.25"X4.25"X2")

Who's Protecting Our Children- Air Dry Clay, Tape, Pastel on a Stained Wood Base (sculpture is 3.25"X4.25"X2", base is 18"X3.25"X4.75")

Who's Protecting Our Children- Air Dry Clay, Pastel, Wire and Fabric (3.5"X5.75"X3.5")

Who's Protecting Our Children- Air Dry Clay, Pastel, Wire, Fabric on a Stained Wood Base (sculpture is 3.5"X5.75"X3.5", base is 18"X3.25"X4.75")

Who's Protecting Our Children- Air Dry Clay, Pastel, Wire, Fabric on Stained Wood Base (sculpture is 3.5"X5.75"X3.5" base is 18"X3.25"X4.75")

Who's Protecting Our Children- Air Dry Clay, Pastel, Wire, Fabric- (3.5"X5.75"X3.5")




Who's Protecting Our Children in process photo- (3.5"X5.75"X3.5")

Gregor's Room 

Materials-  Copy Paper, Water, Windsor Newton Inks (no tape or other adhesives used)

In Process Photo-Crib

In Process Photo-"Spray Painting" the Crib

Notes and Sketches for Gregor's Room

 

 

 

 

 

 

 

 

Gregor's View From His Crib- (Crib-9"X7.5"X6.5")- Copy Paper and Ink

Gregor With His Gold Framed "Photo" (Gregor-2.5"X3"X2.0")- Copy Paper and Ink

Gregor At Peace in His Room (Crib-9"X7.5"X6.5")- Copy Paper and Ink

Gregor Taking a Nap (Crib-9"X7.5"X6.5")- Copy Paper and Ink

Gregor on His Soft Couch (Crib-9"X7.5"X6.5")-
Copy Paper and Ink

Gregor’s Room, based on Kafka’s short story, “The Metamorphosis”, is presented in this installation as a struggle between innocence and the evils of the world.  The story presents Gregor as a gentle, pure character who wants to do what is right and to please all those around him.  I utilized themes of judgement and punishment that, in the story, allude to something bad or shameful that has happened in Gregor's household.  The door is the barrier between all that is bad outside of this room and the child-like innocence contained within the room.  Gregor is presented as a soft, stuffed animal who is only beginning to be infected by the evil of the world (as illustrated by the apple lodged in his back).  The colors chosen are bright and hopeful, but one could imagine the colors dulling and fading as Gregor loses hope and gains an awareness of the evil surrounding him.  The room is meant to be soft and comfortable, a place of refuge and safety.  In the story, Gregor clasps and fiercely protects a gold framed photo of a woman.  The "framed photo” here is of the Virgin Mary and is meant to represent Gregor’s great faith, although sadly misplaced, in those he loves and trusts.

 

Dinner and a Movie 

The Solution- Based on the 2016 film Hidden Figures

This photo questions attitudes and circumstances related to gender and race.  An often overlooked history is the contributions black female engineers and mathematicians made to space exploration during the 1960's.  Flashes of red, white and blue represent the American flag, highlighting the intense sense of national pride at that time.  The pearls, placed adjacent to the scientific compass, and grasped by the tie clip, represent gender and socioeconomic inequality.  The glasses hidden behind a nameless place card emphasize the way in which a black woman was meant to hide and not take credit for her contributions.  Additionally, the upside down, wrapped coffee cup illustrates the prominent racism that she would have faced every day.  The composition and patterned background were chosen to engender a sense of accuracy and structure, a sense of strict right and wrong, an ultimate truth.  On the top of the inverted coffee cup, there is an equation written on graph paper.  The work "equation" contains the base word "equal", indicating that numbers are blind to gender and race.  These remarkable women sought the truth and the solutions.  They met adversity with intelligence, hard work and grace.  They paved the way for future generations.  Our progress is not always as complete or as rapid as we would like it to be.  Recognizing these women allows us to see from where we came, so that we can adjust our compass for the future.