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sculpture

Veil Each iconic figure represents a different stage in the life of women. The brown figure represents the crone, the middle figure: the mature woman, and the figure on the left is the adolescent struggling for identity. Or, they might also represent women behind the veil who are struggling to break free.

Veil Each iconic figure represents a different stage in the life of women. The brown figure represents the crone, the middle figure: the mature woman, and the figure on the left is the adolescent struggling for identity. Or, they might also represent women behind the veil who are struggling to break free.

Veil (Detail) Veil Each iconic figure represents a different stage in the life of women. The brown figure represents the crone, the middle figure: the mature woman, and the figure on the left is the adolescent struggling for identity. Or, they might also represent women behind the veil who are struggling to break free. Veil (detail) Metal, fabric Variable size Collateral Damage (Detail) This sculpture is my reaction against the barrage of images that manipulate our emotions and invite us to “buy-in” to the politics of power and its total disregard for the human cost of war. Collateral Damage Plaster, oil Variable size Collateral Damage (Detail) Plaster, oil Variable size Baby Fat is a performance designed to draw attention to the high fat, sugar and salt content in processed foods, and to encourage viewers to consider alternative eating patterns. When presented as a freestanding sculpture, a motion detector activated sound track repeats the ingredients found in many children’s foods. Small brown bags offer food options: carrots, raisins, or a gooey chocolate processed dessert…your choice. Baby Fat Metal, fabric, paper, elecronic, audio Life Size Memory Music Box “The Memory Box, homage to the fragile threads that tie families together, transcends the currently popular, psychologically self-obsessed constructions, that have meaning for no one but the maker. After her father died, Duval collected letters that involved her family, placing the letters in glassine envelopes. Betsy mailed them to her self. Slippery envelopes, missing stamps, and the vagaries of the postal service sent her hunting for some of the letters, all of which finally – arrived. “There are always loose ends in relationships,’ said Duval, so she left some slack when she threaded the letters together with tied knots and hanging strings. Taking four of her canvas paintings and making them into a large light-box, she cut out segments to make windows of family photos. On top of this she added another shallow box that opens from the top. Raising the lid causes music from her father’s era to play. Here lie the glassine envelopes that can be picked up and passed around by people who become connected by the physical act of holding the letters and by the implied attachments…Duval succeeds in touching a variety of senses with the piece.” Beth Surdut, The Middlesex BEAT Memory Music Box Wood, canvas, oil, vellum, photos, electronics 24" h x 24" w x 24" d Feeling Flamenco Plastic rose, teeth molds, wood, electronics 28" x 24" h x 8" d History of Western Art Latex, wood, cardboard, lightbulb, motion detector 18" w x 12" h x 6" d Egg Walk (Detail) Plaster, electronics, audio tape 24" w x 8" h x 36" d Not My Bag Join our androgynous explorer opening the Pandora's box of gender. Left: Not My Bag Fabric, suitcase, plastic Life size The Observer poses questions about the place of women in art. What is her connection with famous works of art? Is she an object, an objective observer, or a engaged participant? And we, are we viewer or voyeur? The Observer Fabric, metal, plaster, gouache Life size