Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
January 1987. Painted granite, painted steel. Dimensions: 10’h x 7’w × 5’d
Private collection - Aspen
Luna I comes from a period when I was increasingly looking to the skies for inspiration. In 1986 I completed Solstice Calendar, my first large-scale public sculpture focused specifically on the celestial movement of the Earth in relation to the sun. That same year, the much-anticipated return of Halley’s Comet further heightened my interest in celestial movement. In Luna I, this appears most directly in the long diagonal element sweeping upward through the composition and the flame-like forms where it intersects the large lunar crescent.
The painted surfaces extend this celestial imagery through color, gesture, and movement, while the rough granite maintains the sculpture’s connection to the earth. Luna I became part of a broader direction in my work in which the moon, sun, night sky, and constellations provided a poetic framework for exploring time, space, movement, and our place within a larger cosmos. Drawings from 1986—including several Luna and Autumn Luna studies—show how actively these ideas were developing at the time.
January 1987. Painted granite, painted steel. Dimensions: 10’h x 7’w × 5’d
Private collection - Aspen
Luna I comes from a period when I was increasingly looking to the skies for inspiration. In 1986 I completed Solstice Calendar, my first large-scale public sculpture focused specifically on the celestial movement of the Earth in relation to the sun. That same year, the much-anticipated return of Halley’s Comet further heightened my interest in celestial movement. In Luna I, this appears most directly in the long diagonal element sweeping upward through the composition and the flame-like forms where it intersects the large lunar crescent.
The painted surfaces extend this celestial imagery through color, gesture, and movement, while the rough granite maintains the sculpture’s connection to the earth. Luna I became part of a broader direction in my work in which the moon, sun, night sky, and constellations provided a poetic framework for exploring time, space, movement, and our place within a larger cosmos. Drawings from 1986—including several Luna and Autumn Luna studies—show how actively these ideas were developing at the time.
