Page 11 - The Sloughi Review - Issue 2 - Final Copy
P. 11
T H E S L O U G H I R E V I E W 1 1
I often work from live models and demonstrate modeling at public art events. During the long process of creation, this
Sloughi clay became very well traveled.
In searching for the voice of this particular The tiniest shifts in posture or angle were
sculpture, I modeled clay studies at lure making a difference. It was getting close
trials and at ringsides to study dogs in but still needed a clearer focus.
motion and with various gestures and
attitudes. I don't think the type or Any of these early versions would have
conformation were ever much of an issue, I lead to a nice sculpture, but I knew I could
wasn't going to be satisfied with the clay do more with this and I wanted to.
until it had its own powerful and unique
message, one unique from previous Tenaciously I hunted for the lines and
sighthound bronzes that I’ve done. rhythms within the form that would spark
it to life and reveal its spirit, until at last
During this period of exploration, the clay the clay began to mirror my own search for
study was used as a demonstration piece at some unknown attainable. And that was it!
several public art events including a gallery “The Pursuit of a Distant Dream” depicts
opening and the Plein Air Art Convention, the moment of hesitation as a Sloughi
both in San Diego, CA. Even though the sights his desire far in the distance.
clay was not in its final form, it never failed
to attract the rapt attention of onlookers His pose and expression communicate
who were drawn to the life presence they tension, concentration, and a sense of
saw in the clay. longing. Having spotted his goal, he
calculates: is it attainable? It makes no
difference, it is the quest that must never
end.
