Constructions: joyce audy zarins

During a Community Residency in at Fowler Dune Shack on the Cape Cod National Seashore, Deb Carey pointed out this survivor organism to me. When the dune eroded, most of this high bush blueberry’s roots were exposed, yet it survived and bears fruit. I was impressed. read more »

You work alone developing something that has never before existed in the world. You see it from a unique perspective, but what about the rest of the world? Is this newly created entity ready for exposure? Is it balanced and complete? Does it say what you think it says?

What you need is a good critique group of peers experienced in the genre you are working in. They should be people read more »

My sculptures use the body language of animals to express a feeling or state of being, with motion conveying emotion. – Wendy Klemperer

How did you arrive at your very expressive signature method of drawing in space with previously used rebar?

Over the years I have experimented with many sculptural materials, and also painted a lot (I still do, sometimes). I worked with clay, wood, stone, plaster, wax, bronze, resin, and all kinds of messy mixed medium collage things that fell apart, and then I started making sculptures out of tree branches. I had been working with wax to cast in

bronze, and then added sticks here and there for support. I liked the color and texture of the wax, and made pieces that were just wax and sticks, but they were always delicate. I wanted to work larger, and found that I could use the sticks alone and get a linear, gestural effect. I developed a technique of wiring the wood together by drilling a hole first, then pulling the wire tight with pliers. It was actually a tedious and annoying process; I read more »

Chakaia Booker uses a lowly material to make elegant, intriguing sculptures that have rhythm and varied textures. They are durable for outdoor exhibits and environmentally considerate. She uses recycled common tires, cut up in various ways to yield textures that suggest scales, feathers, hair, basketry and other surfaces. These are wrapped around wood and steel armatures in evocative, black-surfaced forms. The largest exhibit to date in this country of her work was held this summer at the deCordova Sculpture Park and Museum. Here are further images of Chakaia Booker’s work from that solo exhibit. Booker’s work of the past ten years is appealing on several levels. It echoes her African heritage in the way that the configurations and surfaces remind one of African patterns, handiworks and general aesthetics. The color – native to the processed rubber of the tires – makes her forms imposing, many with a poised grace. And her inventive use of the different repeated cut shapes in sometimes spontaneous, almost living, forms or staid compositions of elements that converse with one another makes a satisfying experience for any viewer.

At Maudslay Outdoor Sculpture Exhibit, Kalmia, a wind kinetic sculpture.

The idea for Kalmia came from the beautifully curving shapes of mountain laurel branches I found at the park. Maudslay State park has the largest naturally occurring stand of mountain laurels in the state. The ones I used died while striving for the sun after the surrounding trees grew so tall.

For the past twelve years a group of artists have run an exhibit at Maudslay State Park in Newburyport, MA. This year there are 33 sculptures/installations including Kalmia, which is my wind kinetic tribute. I have participated for nine years.

There is a catalogue, given free to the public, that contains the site map, artists statements and photos of each piece.