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Why don’t your figures have faces?
This ties into the viewer
becoming more of a participant in the understanding of the piece.
It makes it more personal for the giver and the receiver to envision
what or whom they want. At the time I created Willow Tree, I had never
seen it done before, except for my knowledge of Amish women who would
sew dolls for their children. Because of their religion, they did
not embellish the faces; I loved the simplicity and pureness of the
way those dolls looked. It’s the perfect example of “less is more”
- what is missing can speak volumes. Simplicity of form is one of
my guidelines.
Your thoughts on angels?
Angels seem to resonate greatly with all ages and cultures of people. To some they represent protection, to some they are an outward reminder of inner peace and virtue, and to some they represent a way to remember those who have left this earth. Regardless of personal conviction, angels seem to provide comfort to those searching for answers in a world with so many unknowns.
Why wire wings?
I did many, many prototypes
for the angel wings. I wanted something simple and unique. I ended
up designing the wire loops - they have lightness. They can add visual
movement and at times seem to flutter. But they are still very simple
and humble.
Why do some of your figures carry things?
I like to use animals or objects from nature, which can be metaphors for human experiences. These items can mean different things to different viewers. I try to give each piece another level of meaning that's not always obvious -- that the viewer can sense or imagine. For example, the rose on Love -- the stem blends into her body, so there's no separation between the object that she’s holding and her body -- the whole figure becomes a symbol of love -- not just the rose. Many of the pieces have this same blending of object and figure -- the rosemary in Angel of Remembrance and the pineapple in Welcoming Angel are two other examples.
How does your background influence your creativity?
Growing up in a very huggy, extended Italian family; being a granddaughter, daughter, mother; giving birth. A supportive
family. Experiencing healing. I think I craved doing something with the expressive power of the human gesture -- All of my
notebooks from past lecture classes in school are filled with figures doing all sorts of things in between the lines of notes I
was supposed to be taking. Now, after years of two-dimensional figure-drawing, I welcome the challenge to sculpt figures in three
dimensions.
What has influenced the development of this line?
Observing the human form, observing, observing. Conversations, emotions, letters, stories, memories. Life experiences, crying,
laughing really hard, loving, motherhood. My sisters. My children, my husband, my parents. True friends. My cat. Years of studying
and drawing and observing. My children, nieces, nephews and friends have been the models for Willow Tree figures.
How did you come up with the name Willow Tree?
The name Willow Tree directly reflects my love and reverence of trees, their graceful, columnar, beckoning, magical qualities.
Trees are anthropomorphic (possess human qualities). They change, grow, whisper, etc. They have so much character and gesture.
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