Culprit June
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Artists Statement:
Sculpture is my passion. It’s an extension of me, reflecting my
thoughts, my loves, my hates, joys and fears. Whether I am involved
in representational wildlife studies, realistic figure studies, portraits or abstractions, I put my heart and soul into it.
Each sculpture is an exciting journey. Starting with a vague concept, sketching, where I compose shapes, forms and the spaces between these, on paper and in my mind. I draw until I get under
the skin of my subject, until I can “feel” that sculpture in me. After constructing the armature, I concentrate on the shapes and forms in space, the composition and silhouette. Suddenly the work takes on a life of its own, the emotional content starts to manifest, the dialogue begins between myself and the sculpture. This dialogue is essential; it’s a tremendous stage of discovery, an adventure into my own inner self. While I work I’m constantly looking at the composition in space, the tensions within the individual forms and the relationships between them. To me this is
the essence of sculpture. In the process I use my experience and my gut feelings to guide me until I’m satisfied within myself that the sculptural form I’ve created moves in space and is in harmony
with my vision.
In my career as a sculptor I’ve used the figure extensively. In many of my studies I endeavour to capture the rapport between man and animal by combining the two to create sculptures that are uniquely my own abstract expressive approach.
This interdependence is illustrated in my most recent work, “Culprit” where I express my revulsion for the senseless destruction of the rhinoceros for the manufacture of aphrodisiacs for male gratification, male dominance through sex and the resultant effects on future generations.
My sculptures are sculptures first and foremost, the result of deep emotional responses to the world around me. Creating and searching for the ultimate realisation of my vision is the fulfilment of
my life.
In an academic paper by Dr Agurtxane Urraca, published in Goya, Revista De Arte, Madrid 2001, my work was aptly described as follows; “Her work constitutes without a doubt a solid investigation
of the form and the spirit of man. Figures which often appear to be deprived of volume succeed in scanning the horizons of time. She succeeds in fusing the abstract and figurative world of Henry
Moore, the surrealism of Giacometti and the world of Africa, all mixed with the most intimate essence of the artist herself.”
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