(Re)In-carnation

A common thread in my recent sculpture is the concept of reproductions. The number of times that an image is copied affects its meaning. In my last three shows titled “Artifacts and Artifice,” I examined objects that were made by hand (“artificial”) and objects that have cultural and historical significance (“artifacts”). This examination was done with a sense of self-consciousness and awareness of a decline in quality of the clarity of the forms and the meaning of the work. I am interested in prototypes of artworks that become iconic – the first of their kind and how these objects are modified, for better or worse, over time.

“(Re)In-Carnation" is my copy of a fragment of a Greek goddess that was copied by a Roman sculptor. A Turkish carnation pattern is etched into the chest. One interpretation of the name “carnation” references the similarity of the flower’s red color to human flesh. I saw a resemblance of the texture of my etching on the marble to something carnal – offering a feeling of pathos to this otherwise idealized figure.