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"One day, as I manipulated the wax, to
make new abstract nudes (below, left), a horse's face appeared. Then horns,
ears, and bird-like wings
(below right). I
was having an out-of-body experience, and felt as
if I was watching another person create this new image. Ultimately, the
horse-bird series changed my aesthetic direction." Nannette
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From the mid '70's to early
'80's, Nannette preferred the smooth-bronze surfaces of
Reclining Nude. |
Once the wax horse-like face
appeared, the wings and body took shape quickly. Nannette let the medium
dictate the direction of the surface textures (mixture of rough and smooth) and image
(the right side of the body jutted forward, while the left side was
indented and almost non-existent). |
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Reclining Nude,
1980, 4"x6"x4" |

Horse-bird # 1,
1980, 8"x7"x6" |
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Nannette's new theme and style evolved further with the
second bird, Attack.
Here the menacing horse-bird over-takes the smooth-abstract image; the
new theme perched on the old. |
Legs and a foot materialize in
Animus. At the time, Nannette was
studying Carl Jung and knew Animus' stance
represented her masculine side. The bird reappeared in 1996, with
Take-off,
a fiberglass and mirrored magnet. Both feet immerged in two welded
pieces,
Awakening
(steel), and
Best Foot Forward
(brass). All came to
fruition in the final bronze grouping,
Family Reunion. |
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Attack,
1981, 7"x7"x5" |

Animus,
1982, 10"x12"x4" |
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