Page 9 - The Sloughi Review - Issue 2 - Final Copy
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T H E S L O U G H I R E V I E W 0 9
When asked to sculpt a Sloughi in bronze, I My work draws heavily on the emotional
took more than two years to complete the presence that I sense from the subjects. I
commission. The consensus among sculpt with the intent that the work will
collectors who have seen the finished work influence its space with a palpable mood.
is that considering the result, the wait was Animals are not my sole subject but I
justified. In less than a month after its often chose them because of the natural
release, demand had exceeded production ease with which their body posture and
capacity requiring that orders be gestures communicate a variety of
temporarily suspended at number nine of emotional states. Animal subjects offer
the fifteen to be ultimately cast. This rich source material which can be
enthusiastic response was especially powerful or subtle. This power can be felt
gratifying because the path I took to create in my other sculptures such as the 45” tall
this sculpture was not an easy one. “Aristocracy”, which quietly commands its
space with ceremonial, if exotic,
There was little indication at the inception authority.
of this sculpture that it would generate
such interest. Two years prior, I began this This sculpture would set the required
commission with no personal experience tone at a formal entry. In another
with this particular breed and scant example, the impression of time standing
contact with representatives of it. Without still can be felt in the depiction of the
Sloughi models at hand, there were no pregnant mare called “Waiting”. This
immediate impressions on which to base a small bronze emanates a feeling of calm
sculpture. acceptance and restfulness. When
sculptures proclaim the purpose of a
place, they are more than mere objects,
they are art.
Preparations for this piece included making some
drawings. This is a great way of taking the time to
consider various possibilities and study the subject.
