|
Introduction
|
||
|
|
|
Gary Weisman chooses to work in “variations on a theme” as a means of exploring and interpreting his subject. Weisman gives human shape to the qualities of a lie in the Lie Series which features a dramatic life-size piece entitled Conceal, 2005 and two smaller figures, Pretend, 2004 and Defer, 2004. In another series, The Named and Unnamed Women of the Old Testament, Weisman’s narrative suggests what he describes as “the eternal moment”. Lot’s Wife, 2005 is captured at the moment before she succumbs to the compulsion to look back. Lot’s First Daughter, 2005 and Lot’s Second Daughter, 2005 depict the moment when their father is about to turn them over to an angry, vengeful crowd. Jephtha’s Daughter, 2005 is held at the moment of her surrender (her father agreed that if victorious in battle, he would sacrifice the first thing he saw upon his return home;Jephtha sees her). And in Judith’s Handmaiden, 2005, Weisman depicts Judith's un-named loyal servant after Judith has beheaded Holofernes. Gary Weisman’s work is inspired by his ongoing fascination with the human form. While his figures may evoke the past reflecting the shifting influences of Far Eastern, Greek, Renaissance and 19th century European masters, they are timeless. Figures appear caught in motion, moving upwards, forward, and stepping back forever balanced in a place caught by the artist’s imagination. Gary Weisman was born in Chicago in 1952. He has exhibited widely in the United States and Asia and has received numerous awards and commissions. Remarkably, Weisman acts as his own modeler, caster, foundryman and patinist. He currently teaches at the Pennsylvania Academy of the Fine Arts where he built the foundry. Gary Weisman’s work can be found in such public collections as Pepsico, the Norton Art Museum, Honeywell, Inc., the City of Philadelphia, the City of Chicago and the Tri Star Film Corporation, among many others. * * * |
 |
|
| Copyright © Berry-Hill Galleries, 1998 - 2003 | |
|