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Going Where Life Takes Us Sculpture

Phillip Stern

United States

Sculpture, 3d Sculpting on Copper

Size: 93 W x 97 H x 55 D in

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$17,000

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About The Artwork

This chimera-form work delights in varied surfaces, saturated colors, and generous curves. Part human and part insect, it blends several figures into one. Billowing wings made of translucent printmaking paper on a superstructure of cables and copper tubing, and limbs of woody vines, fan out in all directions. The vines also look like beings in themselves. The motley assortment of animal attributes is orchestrated by an aspirational human-like figure looking up in wonder. Textures and patinas, from the sheen of brushed copper to the weave of fibrous paper to rugged troweled cement provide micro-terrains for the eye to explore. The smooth and rough materials are finished with a soft patina, tinted with light acrylic watercolor paint, creating a mood of exuberance, generosity and hope. The subject is humans in contact with wild nature, finding kinship and companions in unexpected places, in order to move forward on our collective voyage. The work blossoms in a great room, atrium or other large light-filled indoor space. It is built in 2 sections that can be separated and reattached for more convenient handling.

Details & Dimensions

Sculpture:3d Sculpting on Copper

Original:One-of-a-kind Artwork

Size:93 W x 97 H x 55 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I greatly enjoy connecting with nature through sculpture. In my walks through woodlands in the northeast U.S., I am drawn to the fantastic diversity and adaptability of trees, marveling at the forms, textures, and colors of their roots, trunks, bark, and leaves. I gather fragments of fallen trees in my studio, study them, and see what they are hinting at. With these cues, as well as ideas and images from science, I seek to generate a dialogue between humanity and nature. These natural objects are intriguing to me because I find some aspect of humanness in them. I use the objects to help articulate a figure—a twisted vine becomes a spine, wavy bark becomes an undulating torso. These objects come to me already sculpted by nature—by genetics, storms, insects, or microbes—and it’s delightful to find clever new ways to employ their wonderful characteristics. Sometimes I’m thinking of a different animal—a bird or a bat—at the same time as a human. I want viewers to see my work as a space to feel free and explore what it is like to be human in such a complex universe.

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