I recently discovered an artist website located at http://www.figurativeartist.org Naturally the name intrigued me and after learning more I applied to become a member. This is a juried and curated site and I’m very honoured to have been accepted to be part of this group of artists. The site is devoted to creating connections between artists and collectors, galleries, students and art lovers. The art of the human form united this talented group of contemporary international figurative artists. A few of my favourite figurative sculptors are presented here, including Joe Fafard, Richard and Jodi Creager and a new discovery for me, Zarko Baseski. You can find me on this site in the alphabetical listings or on the Gold Artist Listing for Sculptors.

The human figure has always been a common subject of visual art. The earliest known representations of the human body come from Europe and date to between 25,000 and 12,000 years ago. In almost all cultures around the world the human figure remains central to both spiritual and decorative art to the present day. When I first started sculpting in polymer clay, almost 20 years ago, I focused on getting the facial features and the body proportions right, but the characters sometimes were stiff and lifeless. Since then I’ve concentrated on the emotional connection and giving the illusion of catching people in a candid moment in time. I want the audience to see and feel something familiar, something that reminds them of their own experience.

This is a work in progress called “The Anniversary Dance” which will be part of the “Life’s Simple Pleasures” exhibit at the Orange Art Gallery in February 2015.

Scrolling through the Figurative Artist’s website I was happy to see a quote by Norwegian expressionist painter Edvard Munch because I have this on my studio wall as inspiration  –  “No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.” This quote is a reminder to be conscious of the story behind the sculpture and to find a way for the audience to see it too . . . sometimes I get it right.