In her distinguished career as a sculptor, Warren has used a wide variety of materials including clay, bronze and steel, seeking to draw out the unique properties from each medium. In Fascia III, the artist utilises bronze to evocative effect, drawing, with some humour, on the material’s history of public commemoration and communally significant statuary.
Warren’s creative process operates within a historical artistic lineage of intense interest in human bodily forms and their potential for anatomical abstraction and free fantasy, particularly drawing on that of Auguste Rodin and Alberto Giacometti, as well as fusing elements derived from her interest in the satirical cartoons of Robert Crumb. These forms, visibly worked, prodded and squeezed into being, are often chimera-like objects, at once monstrous and ravishing, that are wholly emancipated from their antecedents. Fascia III, executed in 2010, is a voluptuous arrangement (and misplacement) of female characteristics, with a spherical head, and a solidly power-heeled shoe with big toe attached. The whole is perhaps suggestive of a novel kind of chess piece promising unpredictable moves.
Often described by Warren as totems, these bronze uprights also resemble religious idols found in archaeological sites across the world, invoking an animist connection between the human body and the earth.
Drawing from a tradition of sculptural and Pop culture history encompassing classical antiquity through to Modernism to animation and cartoons, Warren has created an instantly recognisable corpus of physically imposing and beautifully evocative sculptures, and Fascia III perfectly encapsulates her uncompromising artistic ethos.
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