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Horse-birds: The Beginning
1980: "One day, as I manipulated
the wax, to make new abstract nudes, a horse's face appeared. Then horns,
ears, and bird-like wings
(Horse-bird #1). 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
Animus
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From the mid '70's to early
'80's, Nannette's bronze sculptures were abstract, Henry
Mooreish, and had smooth surfaces,
as in Reclining Nude. |
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However, once the wax horse-like face
appeared in
Nannette's hands, the wings and body
quickly took shape. Letting the wax
dictate the direction of the image and surface textures (a
mixture of rough and smooth), Nannette was amazed to watch the
right side of the body jut forward, while the left side indented and
was almost nonexistent. This was a new beginning for Nannette
and her art.
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Reclining Nude,
bronze, 1980, 4"x6"x4"
Horse-bird #1,
bronze, 1980, 8"x7"x6"
(side and front views)
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Nannette's new
subject matter and style evolved
even further with the
second bird, Attack.
Here, she incorporated one of the nude abstracts. The menacing
horse-bird looms over the smooth-abstract image; the
new theme has no legs and looks as if it is
growing out of the old-style image.
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In Animus, two short legs and one foot materialized,
and the image could stand on its own. At the time, Nannette was
studying Carl Jung and knew Animus' presence
represented her masculine side. Both feet
emerged between 1984 and 1985, with two welded
sculptures,
Best Foot Forward
(brass) and
Awakening
(steel).
All came to fruition in the final-bronze grouping,
Family Reunion.
In 1996, the bird
reappeared in
Take-off,
a fiberglass and mirror magnet.
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Attack,
bronze, 1981, 7"x7"x5"
Animus,
bronze, 1982, 10"x12"x4"
Best
Foot Forward,
brass,1984
Awakening,
steel, 1985, 17"x18"x12" Take-off, fiberglass/mirrors, 1996
18"x12"x8"
5"x2"x5.2"
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