10. Goat II, 47"
The second goat mask vase I waited on. The first was number four, and six or so pieces removed from the second. With this piece I felt free to let the form be the sculpture, not the treatment or the texture. Bernini had freed me up, a bit. The primary concern however is always about the work at hand and beauty. I had intended to leave the second goat, the larger of the two, until my niece and nephew arrived, we could build it together. On contemplating this idea however, I realized that I was taking too lightly the amount of effort that even a seemingly simple sculpture requires and, more importantly, the amount of isolation an artist quite often needs in order to create. My intention with this goat was to leave most of the surface untouched, untreated, untextured. Form, light, and of course whatever Nature decides to do with it in the future.
In addition, I want the children to interact with this piece by drawing on it with chalk; I want them to continually complete 'the goat' in their own way. In contemplating this potential use of the sculpture, I decided to boil down the goat to just eye, something which I have often studied, stared at, dealt with in my art and talked/written about. I carved the first eye similar to a sun and, not wanting to repeat myself, finished the sculpture by simply puncturing with my torch a horizontal iris to represent the second eye.
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