Monthly Archives: December 2014

Lisa Clague

DarlingsCeramic sculptor Lisa Clague’s “My Little Darlings” are part of the Fuller Craft Museum’s display of work from the permanent collection, up until July 12.

Made of fired ceramic with an encaustic finish (stains and waxes rather than glaze), Clague’s unsetting figures are inspired by fairy tales and childhood games. Says Clague, “Experimenting with material still excites me…I’m inspired by dreams, delightful fantasies or feverish horrors. Nature, ancient art, antique toys, old dolls that are beyond repair, all feed my imagination.”


A Wild Goose

Feral Goose, Kitty Wales

Boston sculptor Kitty Wales has had several works in the deCordova sculpture park over the years, and her bronze “Feral Goose” is now a permanent installation along the winding path of smaller work next to the museum building. The lifesize goose, advancing toward the viewer, seemed particularly animated on a late-autumn day. Wales chooses animals as her main subject matter, whether dogs, sharks, or birds of prey.

Eve Celebrant

Eve Celebrant, bronze

Mariana Pineda (1925-1996) created my favorite piece in the deCordova Museum’s sculpture park, “Eve Celebrant.” The lifesize bronze represents Eve before the Fall, striding confidently through her garden with a pomegranate, symbol of fertility, in one hand while the other is raised in greeting–or protection–or warning.

As Pineda said of her work: “My materials and subjects are time-honored, but I feel free to…use focus, abbreviation, merger of forms–whatever seems appropriate to convey the meaning.”*

On a misty, late fall day, it was possible to capture the softness of Eve’s moss green patina in the rainy light.

*Charlotte Streifer Rubinstein, American Women Sculptors, p.373

Marilu Swett at Boston Sculptors

Marilu Swett at Boston SculptorsMarilu Swett’s new exhibit, “Soundings,” explores the ocean through both natural and man-made artifacts. The artifacts are found objects, or else the artist’s riffs on oddities and castoffs that wash up along the shoreline. The work conjures New England’s maritime past in poignant tangles of antique fabrics and 19th-century tools, combined with Swett’s own cast metal, plastic, and wood sculpture. Muses Swett, “…the ocean [is the] site of evolution, human industry, and constant watery companionship.”

Swett has created a series of interrelated sculptures and drawings, some painted directly on the wall. The works find a resonant home in Boston Sculptors’ back gallery, which, with its cast iron columns, massive wooden

Marilu Swett at Boston Sculptorsbeams, and mysterious hatchways, adds antiquarian humor to the installation.

At Boston Sculptors until December 14: