Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
July 1998. Bronze. Dimensions: 39 × 16 × 22 in (99 × 41 × 56 cm). Private collection.
Actaeon reflects my growing interest during this period in the figure, animal forms, and mythology as sources for sculptural imagery. The title refers to the mythological hunter Actaeon, who comes upon Diana and her nymphs bathing in the woods. Enraged at being seen, Diana transforms him into a stag; as he flees, he is pursued and killed by his own hunting dogs.
The sculpture is unusual in that it contains no actual stone, but rather a bronze cast of one—a process I used with some frequency around this time—combined with a cast deer-head mount. The tall bronze cone, or dunce cap, adds a touch of humor, suggesting that Actaeon’s lingering to watch the nude bathers was not a particularly smart move. The work belongs to a period when I was more openly acknowledging the figure and using recognizable forms for their associative, symbolic, and narrative possibilities.
July 1998. Bronze. Dimensions: 39 × 16 × 22 in (99 × 41 × 56 cm). Private collection.
Actaeon reflects my growing interest during this period in the figure, animal forms, and mythology as sources for sculptural imagery. The title refers to the mythological hunter Actaeon, who comes upon Diana and her nymphs bathing in the woods. Enraged at being seen, Diana transforms him into a stag; as he flees, he is pursued and killed by his own hunting dogs.
The sculpture is unusual in that it contains no actual stone, but rather a bronze cast of one—a process I used with some frequency around this time—combined with a cast deer-head mount. The tall bronze cone, or dunce cap, adds a touch of humor, suggesting that Actaeon’s lingering to watch the nude bathers was not a particularly smart move. The work belongs to a period when I was more openly acknowledging the figure and using recognizable forms for their associative, symbolic, and narrative possibilities.
