debora alanna: stone sculpture 2013 - 2014

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Debora Alanna Stone Carving 2013 - 2014

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Page 1: Debora Alanna:   Stone sculpture  2013 - 2014

Debora AlannaStone Carving2013 - 2014

Page 2: Debora Alanna:   Stone sculpture  2013 - 2014

Stone carving has been part of my art practice since my art school days. I studied stone carving with Leonard Osterle at the Ontario College of Art. The use of stone as a medium has been intermittent over the years. I have consistently returned to its use because carving is a practice that gives me much joy. I consider it a meditative endeavour.

Debora Alanna 1976

Page 3: Debora Alanna:   Stone sculpture  2013 - 2014

Work in this presentation concentrates on my stone sculpture made between 2013 – 2014.

During this time I also drew, painted and made installations.

Page 4: Debora Alanna:   Stone sculpture  2013 - 2014

Old West Saanich Road in West Saanich, twenty minutes from Victoria BC was my next studio location from spring of

2013 until the autumn of 2014.

This quasi rural locale lent itself to meditative contemplation that

stone carving requires.

Page 5: Debora Alanna:   Stone sculpture  2013 - 2014
Page 6: Debora Alanna:   Stone sculpture  2013 - 2014

Bowl for Invisible Tears by Debora Alanna

This work was donated to and auctioned for

Victoria Youth Empowerment Society for the fundraising event,

16th Annual Souper Bowls of HopeNovember 13, 2013

Inn at Laurel Point, Victoria BC.

Hand carved Texas cream limestone

9 x 6 x 4"

Page 7: Debora Alanna:   Stone sculpture  2013 - 2014

Bowl for invisible tears by Debora Alanna

Bowl for invisible tears acknowledges depths of private despair, embodies the humanity required to rectify emptiness. Symbolic, this work is a vessel to hold the unseen weeping that occurs when sadness is solitary. This sculpture is an offering of hope to the despondent.

Page 8: Debora Alanna:   Stone sculpture  2013 - 2014
Page 9: Debora Alanna:   Stone sculpture  2013 - 2014

Listening with more than earsby Debora Alanna

Listening with more than ears regards the deep listening process. The exterior auricles dominate the

sculpture, becomes the ‘head’ of the work.

The body curves in on itself as what is heard is processed.

Page 10: Debora Alanna:   Stone sculpture  2013 - 2014

Listening with more than ears by Debora Alanna

work in progress – front view - left side view

Page 11: Debora Alanna:   Stone sculpture  2013 - 2014

right ear - detail- back detail

Page 12: Debora Alanna:   Stone sculpture  2013 - 2014

Listening with more than ears by Debora Alanna

front views - details

Page 13: Debora Alanna:   Stone sculpture  2013 - 2014
Page 14: Debora Alanna:   Stone sculpture  2013 - 2014
Page 15: Debora Alanna:   Stone sculpture  2013 - 2014

Expanse by Debora Alanna

– work in progress- side view

Page 16: Debora Alanna:   Stone sculpture  2013 - 2014

Expanse by Debora Alanna

Expanse was commissioned by a midwife.

Expanse illuminates the birthing experience.

Although the natural act of giving birth was the original impetus

for making this work, the universal delivery of

originality encompasses the sculpture.

Texas Cream limestone 11x 8 x 7”

- front view

Page 17: Debora Alanna:   Stone sculpture  2013 - 2014

Expanse by Debora Alanna

- rear views - side view

Page 18: Debora Alanna:   Stone sculpture  2013 - 2014

Expanse by Debora Alanna

- side view - front view

Page 19: Debora Alanna:   Stone sculpture  2013 - 2014
Page 20: Debora Alanna:   Stone sculpture  2013 - 2014

Picasso’s Demoiselle meets Vilborg’s Raven by Debora Alanna

- front view

Picasso’s “Les Demoiselles d'Avignon” painting has haunted me for years.

Mask imagery amalgamated with Icelandic lore, the persona of Vilborg’s raven.

Page 21: Debora Alanna:   Stone sculpture  2013 - 2014

Vilborg’s raven appeared in a painting made while in

Iceland in 2013.

18 x 24” Water soluble wax pastels

on paper

Calling Vilborg’s Raven

for help through the crack

of time by Debora Alanna

Page 22: Debora Alanna:   Stone sculpture  2013 - 2014

Picasso’s Demoiselle meets Vilborg’s Raven by Debora Alanna

- side view - front view

Page 23: Debora Alanna:   Stone sculpture  2013 - 2014

Hand carved Indiana limestone6 x 8 x 5"

Picasso’s Demoiselle meets

Vilborg’s Raven by Debora Alanna

– side viewof work just finished on the studio bench

The raven became a headdress, a mantle for

Vilborg, her spirit guide.

Vilborg is a masked figure to denote masking one’s intentions.

Page 24: Debora Alanna:   Stone sculpture  2013 - 2014

Picasso’s Demoiselle meets Vilborg’s Raven by Debora Alanna

The raven’s wings are downward. Although independent of the mask, feathers compliment Vilborg’s hair detail. The bird’s integrity is merging with Vilborg’s mind.

- rear view of the raven on Vilborg’s head

Page 25: Debora Alanna:   Stone sculpture  2013 - 2014

Picasso’s demoiselle with Vilborg’s raven by Debora Alanna

Page 26: Debora Alanna:   Stone sculpture  2013 - 2014
Page 27: Debora Alanna:   Stone sculpture  2013 - 2014

Debora Alanna is a visual artist currently located in Montreal Quebec.

All art work, photographs, writing and design are produced by Debora Alanna.

© Debora Alanna 2016

Page 28: Debora Alanna:   Stone sculpture  2013 - 2014

Thank you!Thank you for taking the time to view this

presentation of my stone sculpture produced 2013 – 2014.

Debora Alanna

FIN