by Wesley Wofford

“I think the greatest sculpture collections have a variety of styles and mediums as well as subject matter.  A well-rounded collection is both aesthetically pleasing and creates an interactive timeline of the evolution of sculptural thought.  The collector is stimulated by the contrast of one style to the next and their collection reflects the evolving nature of the word ‘sculpture’. I think a great classically inspired figurative piece becomes all the more emotionally powerful when juxtaposed amongst more contemporary, abstracted pieces. As a result of these thoughts, I have endeavored to create this contrast within one cohesive body of work.”

“With my more classically inspired pieces, I translate the experience of what it is to be a human animal in a secular society—exploring themes that are basic and primal as well as emotionally complex.   These compositions contain a deeper emotional content and explore specific feelings and sentiments.”

“My more abstracted figurative pieces speak in a more ‘modern’ voice and engage the viewer to relate to the larger abstraction of the human condition.  They also create the contrasting aesthetic dialogue within a collection.  They are dynamic and passionate, exploring more bold color and producing a rhythmic movement of form and texture.”

“Furthermore, I think most educated viewers today can ‘timestamp’ a sculpture to within several decades of its creation by referencing a sort of culturally ingrained catalog that chronicles the evolution of sculpture over that last 500 years. I am exploring the concept of obscuring the ‘timestamp’ on my sculpture, so its origins aren’t as transparent to the viewer.  By producing and exhibiting alternative finishes on the same sculpture you invariably remove the decade or art movement in which it seemed to be created.  This ‘timestamp’ also becomes more ambiguous when these color variations are exhibited alongside the two contrasting styles within the larger body of my work.”