I note that on the iPhone only 80% of the image can be seen. Full screen views can be seen on my Facebook artist page. You will also find lengthier thoughts about each piece there. Use the contact form below or email me with questions, comments, or requests. This work is all from 2014 - 2017, in no particular order. All are archival pigment prints on BFK Rives paper in editions of 12. The models for all were statues from the 18th to 20th centuries (well, a couple have an image from my trove of black and white negatives in there somewhere). The dates that are part of the titles are the years when they sat or stood for their likenesses in stone.
At about 40, "Elisabeth Kaiserin (Sisi), 1877" felt herself a stranger in all places, alone in the crowd: anorexic, probably bulimic, certainly obsessed with her figure. The last Kaiserin of the Austro-Hungarian empire, she felt she had little control over her life, and was assassinated in 1898 in Geneva. My model here was the 1907 monumental statue of her in Vienna's Volksgarten, made for those who mourn her still. While she mainly wore black, one ivory and lavender outfit was among her effects. She never did lose her slender figure. 2016, 26 x 39"; $2000.
""Solidea Taiuti in the garden, 1941, after Tommasi"" 8 x 12" $250 Edition of 12 archival pigment prints That's a lamb on her shoulders. I found the sculptor's granddaughter on the Internet; she writes that yes indeed, this was sculpted from a live model in th4 late 1930s; she'd be in her late 90s now.
Elsie Gumpel survived her mother by six years, dying in 1922 at 38 years of age in New Orleans. Her image, in granite, rests against her parents' tomb in Metairie Cemetery there, and has done since her father died in 1905. She's of granite as she was one of the (slightly heavy) redheads, VERY freckled, who are quiet by nature, but when they have determined their will, others do best to not be in the way. 18 x 27" archival pigment print, VERY limited edition of 50, 2016; $1000
He imagines he is the defender; should he be bested, an attacker will find out what real fury is. I've been unable to find out who the model for her was, a comfortable woman in her late 20s. She wouldn't have been the first to also be the sculptor's lover.... Part of the project is to bring the women to life but also to find out who they were. 'After Boisseau, 1887: if you get through him, you'll deal with me...." 18 x 27" $1000
"Nina, mad from love, aftter Galli, 1854." 26 x 39 inches, or .6 meter x 1 meter. Archival pigment print on BFK Rives paper to last for centuries. $2000; VERY limited edition of 12. My model is the marble in the Palazzo Reale in Milan by Galli. It's in splendid perfection 163 years after Galli sculpted her. Little is recorded of his life, less of who he used for a model here. It's a story from an opera of the 1700s: shocked into a break by the news of her lover's death in a duel, she reels backward in vertiginous peril.
I have been unable to find out who modeled for Pietro Magni's marble statue which I photographed in Lisbon this year, some say this depicts Angelica of Orlando Furioso, some say this is Andromeda; in both cases, being chained to a rock and menaced by a sea monster were the condition from which a hero would rescue her. Here, she's not certain it will turn out so well.