The Faces

  • “The Faces” emerged from reclaimed four by eight foot slabs of red granite. The first part I sculpted was stimulated by an interest in modern day native African sculptors.  I have seen various photos of artists working in very primitive studios, often under a tree next to their homes. The results are marvelously creative, highly abstract, and very harmonious works in my eye.

    After completing the first profile and its hair, I decided I didn’t want to repeat the same image on the other side.  However, the outline was fixed. It took months before I had the flash of inspiration that allowed me to incorporate the form on the opposite side.

    I will speed up the process for you to see what is going on, if you haven’t already.  The clue is in the fingernail in the finger that runs over the top.  The thumb is beneath it and the eye.  It’s basically the gesture many of us use to quickly crop an image. I liked the result, but was not finished.  As do all sculptures, it had to be mounted in some way, that is, to sit on something that in turn sits on something else; this often turns out to be one of the more difficult parts of the design process for me.

    After many aborted ideas that were as extreme as Ram horns, a solution was finally suggested by an AFRICAN miniature sculpture that sat on a bureau I passed several times a day in my own home.  It inspired the torso you see.

    Before finishing the polishing I set the torso on the bottom-most pedestal to see what it would look like in its final form (and, of course, took a photo of it home to clear it all with my wife!). I must include this simply because I really love the varied forms in this photo taken in the archway of another large piece called The Arches in the studio.

    The piece in its final imperial home.