I gained from the previous Historical Works a renewed respect for the power of the told story and the obvious centrality of the human figure as its narrative focus.
These works result from an insight into how one’s understanding and emotional response to any given sculptural form may be changed by variations in light and shadow. We perceive shadow to be a lightless silhouette. In actuality, it is an invisible darkened volume projected from an object that blocks the light. Shadows are defined by the light that they shine through. In that limited respect shadow is similar to the volume of space defined within the previous Space-hold sculptures. Shadow is a darkened volume contained within an envelope of light; space is a light-filled volume held within an envelope of wood or metal.
Once the analogy between the shadow and the Space-holds became apparent, I explored the shadow’s expressive possibilities within the context of common objects found in the traditional still life, specifically the shadows of a knife, a bowl and a bottle. These sculptures opened the possibility of narrative storytelling between parts and whole and between the historic tradition of painting and contemporary sculpture.