Sarah Lucas
莎拉.卢卡斯
[attachment=35899]
莎拉1962年生于伦敦，1984年7月进入伦敦哥德史密斯学院。卢卡斯的作品主要集中于对性别的陈述。
她的作品也基于个人化的表达。“自我肖像”(Self-Portrait Portfolio)这个系列压缩了她在1990年到1998年间的很多标志性行为，其中频繁地使用食物或是日常用品，作为静态生活的隐喻。作品里的每一部分卢卡斯都以一个怪异滑稽的视点拨弄着观众的神经。她探讨关于性别的主题，除了使观众再次反思自身对性别角色的评判之外，也使英国式幽默里的不适部分显示了出来。卢卡斯的作品蕴涵着一种特别的自然清新的能量，带着对峙的感觉，就像她常常对男性姿态进行一种滑稽模仿，以其另类的幽默留给观众一种煽动性和荒谬。
在“空间里的奶头”(Tits in Space, 2000)里，卢卡斯运用这种特别的幽默来批判一种乐观消费主义文化。 在这个作品里，镶嵌在面板上的照片墙纸，由成捆的香烟集成的女人乳房形状，看起来似乎飘浮着和黑色的背景在对抗。卢卡斯常常由香烟展开联想，并运用香烟作为一种性别的隐喻贯穿在作品中。
卢卡斯的另一个主要方式，即通过雕塑扩展出自我陈述的范围。她常常使用一些日常普通的材料，比如霓虹灯，家庭用品和香烟。而且名称也是构成作品含义的一个重要组成部分，比如“Donkey-Kong-Diddle-Eye”(2000)，这个名字结合了一个电脑游戏的名称和一首英国童谣里的拟声句，整个作品就是通过进攻来声明它一种无忧的自由。作品中，一张沙发被分成了两部分，就像性别的分类一般，然后通过使用灯光来区分出两性。一双灯代表的是女性，用一根霓虹灯管代表男性。整个作品看起来就像是以贫乏的材料不经意间作成的组合，但实际上却是对当前性别和其划分的看法，换句话说，就是置于这沙发的反位置上。同样，这也是对普通大众媒介的用途的一种带有智慧的观测，或者说是待在家里和坐在沙发上的喜悦。
莎拉.卢卡斯
[attachment=35899]
莎拉1962年生于伦敦，1984年7月进入伦敦哥德史密斯学院。卢卡斯的作品主要集中于对性别的陈述。
她的作品也基于个人化的表达。“自我肖像”(Self-Portrait Portfolio)这个系列压缩了她在1990年到1998年间的很多标志性行为，其中频繁地使用食物或是日常用品，作为静态生活的隐喻。作品里的每一部分卢卡斯都以一个怪异滑稽的视点拨弄着观众的神经。她探讨关于性别的主题，除了使观众再次反思自身对性别角色的评判之外，也使英国式幽默里的不适部分显示了出来。卢卡斯的作品蕴涵着一种特别的自然清新的能量，带着对峙的感觉，就像她常常对男性姿态进行一种滑稽模仿，以其另类的幽默留给观众一种煽动性和荒谬。
在“空间里的奶头”(Tits in Space, 2000)里，卢卡斯运用这种特别的幽默来批判一种乐观消费主义文化。 在这个作品里，镶嵌在面板上的照片墙纸，由成捆的香烟集成的女人乳房形状，看起来似乎飘浮着和黑色的背景在对抗。卢卡斯常常由香烟展开联想，并运用香烟作为一种性别的隐喻贯穿在作品中。
卢卡斯的另一个主要方式，即通过雕塑扩展出自我陈述的范围。她常常使用一些日常普通的材料，比如霓虹灯，家庭用品和香烟。而且名称也是构成作品含义的一个重要组成部分，比如“Donkey-Kong-Diddle-Eye”(2000)，这个名字结合了一个电脑游戏的名称和一首英国童谣里的拟声句，整个作品就是通过进攻来声明它一种无忧的自由。作品中，一张沙发被分成了两部分，就像性别的分类一般，然后通过使用灯光来区分出两性。一双灯代表的是女性，用一根霓虹灯管代表男性。整个作品看起来就像是以贫乏的材料不经意间作成的组合，但实际上却是对当前性别和其划分的看法，换句话说，就是置于这沙发的反位置上。同样，这也是对普通大众媒介的用途的一种带有智慧的观测，或者说是待在家里和坐在沙发上的喜悦。
multiples
多样
2001
（打印在水果冰蛋糕上）
inkjet on iced fruit cake, produced by Cakes Direct, Ilford, Essex, 36 x 36 x 10 cm, signed, numbered and dated by the artist, 2001
多样
2001
（打印在水果冰蛋糕上）
inkjet on iced fruit cake, produced by Cakes Direct, Ilford, Essex, 36 x 36 x 10 cm, signed, numbered and dated by the artist, 2001
[attachment=35947] [attachment=35948]
[attachment=35949] [attachment=35950]
[attachment=35951] [attachment=35952]
[attachment=35953] [attachment=35954]
[attachment=35955] [attachment=35956]
[attachment=35957] [attachment=35958] 
乐了,加油!!!!!!!!!!!!!!!!!!!!!
Try It, You’ll Like It
试试看，你会喜欢的
1999
[attachment=35946]
试试看，你会喜欢的
1999
[attachment=35946]
Bucket of Tea
一桶茶
1994
[attachment=35927]
一桶茶
1994
[attachment=35927]
Beautiness
美
1999
[attachment=35928]
美
1999
[attachment=35928]
Rowstock Gardens
Rowstock 公园
2002
[attachment=35945]
Rowstock 公园
2002
[attachment=35945]
Geezer
老头儿
2002
[attachment=35944]
老头儿
2002
[attachment=35944]
Charlie pink
粉红查理
2002
[attachment=35943]
粉红查理
2002
[attachment=35943]
What a bloke!
(We all went out with him sometime)
什么家伙！
（有时我们还和他交往）
2002
[attachment=35942]
(We all went out with him sometime)
什么家伙！
（有时我们还和他交往）
2002
[attachment=35942]
Guardian
护卫
2002
[attachment=35939]
护卫
2002
[attachment=35939]
Charlie
查理
2002
[attachment=35941]
查理
2002
[attachment=35941]
Charlie's delight
查理的欢乐
2002
[attachment=35940]
查理的欢乐
2002
[attachment=35940]
The world of Charlie George
查理.乔治的世界
2002
[attachment=35938]
查理.乔治的世界
2002
[attachment=35938]
The joyous moment
快乐时光
2002
[attachment=35937]
快乐时光
2002
[attachment=35937]
I just love blokes
我就喜欢笨蛋
2002
[attachment=35935]
我就喜欢笨蛋
2002
[attachment=35935]
Charlie George and Susann Farge
查理.乔治和苏珊.法泽
2002
[attachment=35934]
查理.乔治和苏珊.法泽
2002
[attachment=35934]
莎拉.卢卡斯的访谈：
What is your idea of perfect happiness?
A flight of fancy with one or two others.
你理想中完美的幸福是什么？
和一或两个人一起的幻想之旅。
Which living person do you most admire?
I've never had much inclination for heroes.
你最佩服的还在世的人是？
我对于英雄一向没有什么偏好。
What is the trait you most deplore in yourself?
I explain too much.
你不喜欢自己的那一个特点？
我解释的太多。
What is the trait you most deplore in others?
Wanting the pound of flesh.
你不喜欢其他人什么特点？
贪。
What vehicles do you own?
Half a battered Mercedes estate.
你有什么交通工具吗？
一半打烂的奔驰财产。
What is your greatest extravagance?
Intoxication.
你最大的奢侈是什么？
陶醉。
What is your greatest fear?
Loneliness.
你最害怕的什么？
孤独。
Where would you like to live?
In a house.
你想要住在那里？
房子里。
What makes you depressed?
Being on the outside.
什么让你忧郁？
在外面。
What do you most dislike about your appearance?
Photographs.
对于露面，你最讨厌的是什么？
照片。
Is it better to give or to receive?
They're both good when they're good.
给于和接受那一个好？
两个都好的时候就好。
What is your guiltiest pleasure?
I'm not guilty about my pleasure.
你最感到罪恶的快感是什么？
我对我的快感不感到罪恶。
Which living person do you most despise, and why?
Tony Blair, for burying dissent.
在世的人里，你最讨厌的是谁，为什么？
托尼。布莱尔，他掩盖不满。
Which words or phrases do you most overuse?
Go away, get a knob, come back, we'll talk about it.'
你最常用的词句？
走开，突出点，回来，我们将聊聊。
What has been your biggest disappointment?
Dropping the TreeTop orange on the way to the picnic.
你曾经最大的失望是？
野餐的路上放弃了树上的橙。
When did you last cry, and why?
Last week - a problem with a loved one seemed very big.
你最后一次哭是什么时候，为什么？
上星期-和爱人的问题，好像很严重。
How do you relax?
I have a wank or a cup of tea.
你怎么放松的？
手淫或喝杯茶。
How often do you have sex?
Everything is sex.
你多久做一次爱？
什么的都是做爱。
What song would you like played at your funeral?
Twinkle Twinkle Little Star.
你希望在自己的葬礼上放什么歌？
小星星。Twinkle Twinkle Little Star
What single thing would improve the quality of your life?
More liberty.
如果只要一件东西就能改进你的生活质量，这东西是什么？
更多的自由。
How would you like to be remembered?
As someone who brightened things up.
你希望自己被如何回忆？
一个让事情愉快起来的人。
What is the most important lesson life has taught you?
Do what you like.
你生命中最重要的认识是什么？
做自己喜欢的事儿。
What is your idea of perfect happiness?
A flight of fancy with one or two others.
你理想中完美的幸福是什么？
和一或两个人一起的幻想之旅。
Which living person do you most admire?
I've never had much inclination for heroes.
你最佩服的还在世的人是？
我对于英雄一向没有什么偏好。
What is the trait you most deplore in yourself?
I explain too much.
你不喜欢自己的那一个特点？
我解释的太多。
What is the trait you most deplore in others?
Wanting the pound of flesh.
你不喜欢其他人什么特点？
贪。
What vehicles do you own?
Half a battered Mercedes estate.
你有什么交通工具吗？
一半打烂的奔驰财产。
What is your greatest extravagance?
Intoxication.
你最大的奢侈是什么？
陶醉。
What is your greatest fear?
Loneliness.
你最害怕的什么？
孤独。
Where would you like to live?
In a house.
你想要住在那里？
房子里。
What makes you depressed?
Being on the outside.
什么让你忧郁？
在外面。
What do you most dislike about your appearance?
Photographs.
对于露面，你最讨厌的是什么？
照片。
Is it better to give or to receive?
They're both good when they're good.
给于和接受那一个好？
两个都好的时候就好。
What is your guiltiest pleasure?
I'm not guilty about my pleasure.
你最感到罪恶的快感是什么？
我对我的快感不感到罪恶。
Which living person do you most despise, and why?
Tony Blair, for burying dissent.
在世的人里，你最讨厌的是谁，为什么？
托尼。布莱尔，他掩盖不满。
Which words or phrases do you most overuse?
Go away, get a knob, come back, we'll talk about it.'
你最常用的词句？
走开，突出点，回来，我们将聊聊。
What has been your biggest disappointment?
Dropping the TreeTop orange on the way to the picnic.
你曾经最大的失望是？
野餐的路上放弃了树上的橙。
When did you last cry, and why?
Last week - a problem with a loved one seemed very big.
你最后一次哭是什么时候，为什么？
上星期-和爱人的问题，好像很严重。
How do you relax?
I have a wank or a cup of tea.
你怎么放松的？
手淫或喝杯茶。
How often do you have sex?
Everything is sex.
你多久做一次爱？
什么的都是做爱。
What song would you like played at your funeral?
Twinkle Twinkle Little Star.
你希望在自己的葬礼上放什么歌？
小星星。Twinkle Twinkle Little Star
What single thing would improve the quality of your life?
More liberty.
如果只要一件东西就能改进你的生活质量，这东西是什么？
更多的自由。
How would you like to be remembered?
As someone who brightened things up.
你希望自己被如何回忆？
一个让事情愉快起来的人。
What is the most important lesson life has taught you?
Do what you like.
你生命中最重要的认识是什么？
做自己喜欢的事儿。
Fighting fire with fire six pack
和6包火打火战
1997
[attachment=35933]
和6包火打火战
1997
[attachment=35933]
Bunny gets snookered #10
阻绕兔子 #10
1997
[attachment=35931]
阻绕兔子 #10
1997
[attachment=35931]
New religion
新宗教
1999
[attachment=35932]
新宗教
1999
[attachment=35932]
这张反咯
Charlie George
查理.乔治
2002
[attachment=35936]
查理.乔治
2002
[attachment=35936]
Aunty Jam
Jam 阿姨
2005
[attachment=35930]
Jam 阿姨
2005
[attachment=35930]
Summer
夏天
1998
[attachment=35926]
夏天
1998
[attachment=35926]
Self-Portrait with Skull
自我肖像和头骨
1997
[attachment=35925]
自我肖像和头骨
1997
[attachment=35925]
Self-Portrait with Knickers
穿短裤的自我肖像
1994
[attachment=35924]
穿短裤的自我肖像
1994
[attachment=35924]
Self-Portrait with Mug of Tea
和一杯茶的自我肖像
1993
[attachment=35923]
和一杯茶的自我肖像
1993
[attachment=35923]
Self-Portraits
自我肖像
1990-1998, 1999
[attachment=35919] [attachment=35920] [attachment=35921]
自我肖像
1990-1998, 1999
[attachment=35919] [attachment=35920] [attachment=35921]
Got a Salmon On in the street #3
鲑鱼在路上#3
2001
R-type photography
152,4 x 152,4 cm
[attachment=35914]
鲑鱼在路上#3
2001
R-type photography
152,4 x 152,4 cm
[attachment=35914]
Prière de Toucher
2000
[attachment=35918]
2000
[attachment=35918]
Max's Wanking Armchair
马克斯的手淫扶手椅
2000
[attachment=35917]
马克斯的手淫扶手椅
2000
[attachment=35917]
The Pleasure Principle (New York)
快感的原则 （纽约）
2000
[attachment=35916]
快感的原则 （纽约）
2000
[attachment=35916]
Get Hold of This
保住
1994-95
[attachment=35913]
保住
1994-95
[attachment=35913]
Year of the Rooster
公鸡年
2005
[attachment=35912]
公鸡年
2005
[attachment=35912]
Complete Arsehole
百分百混蛋（屁眼）
1993
[attachment=35907]
百分百混蛋（屁眼）
1993
[attachment=35907]
Chicken Knickers
鸡短裤
1997
[attachment=35906]
鸡短裤
1997
[attachment=35906]
Eating a Banana
吃香蕉
1990
[attachment=35905]
吃香蕉
1990
[attachment=35905]
Self Portrait with Fried Eggs
自画像和煎蛋
1996, 装置
[attachment=35903]
自画像和煎蛋
1996, 装置
[attachment=35903]
Au Naturel
1994
装置
[attachment=35902]
1994
装置
[attachment=35902]
Donkey-Kong-Diddle-Eye
2000 装置
[attachment=35901]
2000 装置
[attachment=35901]
Tits in Space
《空间里的奶头》
2000 装置
[attachment=35900]
《空间里的奶头》
2000 装置
[attachment=35900]
Beyond the Pleasure Principle
超越快感原则
2000
[attachment=35911]
超越快感原则
2000
[attachment=35911]
Two Fried Eggs and a Kebab
两个煎蛋和羊肉饼
1992
[attachment=35904]
两个煎蛋和羊肉饼
1992
[attachment=35904]
Black and White Bunny #2
黑色和白色的兔子 #2
1997
[attachment=35910]
黑色和白色的兔子 #2
1997
[attachment=35910]
Got a Salmon On #3
挂着鲑鱼 #3
1997
[attachment=35909]
挂着鲑鱼 #3
1997
[attachment=35909]
Fighting Fire with Fire
吸着火打火战
1996
[attachment=35908]
吸着火打火战
1996
[attachment=35908]
Self Portraits
自画像
1990-1999, 1999
Portfolio mit 12 Prints, Edition 3/150 + 15 a/p's
je 60 x 80 cm
[attachment=35915]
自画像
1990-1999, 1999
Portfolio mit 12 Prints, Edition 3/150 + 15 a/p's
je 60 x 80 cm
[attachment=35915]
Divine
非凡的
1991 照片
[attachment=35922]
非凡的
1991 照片
[attachment=35922]
Christ You Know It Ain't Easy
耶稣，你知道这并不容易
2003
[attachment=35959]
耶稣，你知道这并不容易
2003
[attachment=35959]
This One's for the Pigeons
这个给鸽子们
[attachment=35960]
这个给鸽子们
[attachment=35960]
发臭的人
2003
[attachment=35961]
Background:
Angus Fairhurst Underdone/Overdone Wallpaper 2004 © the artist/Courtesy Sadie Coles HQ, London
Foreground:
Sarah Lucas The Stinker 2003 © the artist/Courtesy Sadie Coles HQ, London
背景
墙上作品是艺术家Angus Fairhurst的作品：Underdone/Overdone Wallpaper 2004
前景
莎拉的作品：发臭的人 2003
2003
[attachment=35961]
Background:
Angus Fairhurst Underdone/Overdone Wallpaper 2004 © the artist/Courtesy Sadie Coles HQ, London
Foreground:
Sarah Lucas The Stinker 2003 © the artist/Courtesy Sadie Coles HQ, London
背景
墙上作品是艺术家Angus Fairhurst的作品：Underdone/Overdone Wallpaper 2004
前景
莎拉的作品：发臭的人 2003
[attachment=35962]
"I sometimes wonder how long I've got," she says. "I feel all right, but I'm still smoking like a trouper, I still drink like billyo. Not a great deal has changed in that department. I don't take as many drugs as I used to, but I still do. I haven't got to that point of giving anything up, even though the balance shifts a bit . . . I'm not complaining, it just
makes you wonder, doesn't it? Because it's completely random how much that stuff affects you and how much it doesn't. It's something you can't know in advance. Everybody, to a certain extent, will be a victim of what their life has been" ·
"有时我想我到底还有多少时间"她说。“我感觉还好，但是我像个老演员一样的抽烟，像个警棍一样的喝酒。这方面，我并没有太大的改变。我没像以前吸那么多毒了，但是我还在。我还没到放弃一切的时候，虽然是有点失衡了... 我不是在埋怨，但是它确实促使你去想，是不？因为一件事情对你的影响有多大是没有公式的。是你无法预知的。每个人，从某种程度上来说，都是他们活过的生活里的受害者。”
---- 莎拉.卢卡斯
"I sometimes wonder how long I've got," she says. "I feel all right, but I'm still smoking like a trouper, I still drink like billyo. Not a great deal has changed in that department. I don't take as many drugs as I used to, but I still do. I haven't got to that point of giving anything up, even though the balance shifts a bit . . . I'm not complaining, it just
makes you wonder, doesn't it? Because it's completely random how much that stuff affects you and how much it doesn't. It's something you can't know in advance. Everybody, to a certain extent, will be a victim of what their life has been" ·
"有时我想我到底还有多少时间"她说。“我感觉还好，但是我像个老演员一样的抽烟，像个警棍一样的喝酒。这方面，我并没有太大的改变。我没像以前吸那么多毒了，但是我还在。我还没到放弃一切的时候，虽然是有点失衡了... 我不是在埋怨，但是它确实促使你去想，是不？因为一件事情对你的影响有多大是没有公式的。是你无法预知的。每个人，从某种程度上来说，都是他们活过的生活里的受害者。”
---- 莎拉.卢卡斯
[attachment=35963]
GLADSTONE GALLERY
SARAH LUCAS
"Penetralia"
November 18 through December 23
Gladstone Gallery is pleased to announce an exhibition by British artist Sarah Lucas. Since the 1990s, Lucas has been developing a unique material vocabulary using everyday domestic items such as stockings, clothing hangers, lightbulbs, and beer cans to create objects that challenge our collectively inscribed codes of gender, sexual, and social normativity. In this exhibition Lucas uses the male genitalia as her muse, capturing the tension between the representational and the abstract, while retaining the insistent and underlying anxiety imbued in her particular mode of the abject.
In this exhibition of new and older works, Lucas continues to explore the themes and ideas at play within her 2008 series of the same title, "Penetralia." Employing similar strategies of production, such as cast concrete, plaster, and fiberglass, these works engage the figure of the phallus with an intense formal clarity and wit. While the symbolic power of the phallus allows Lucas to play with an overt level of content and signification, she is also equally attentive to the basic conditions of the sculptural object implied in composition, weight, balance, and materiality. These aesthetic details animate Lucas' otherwise brute erections, rendering their contours, surface, and structure into an elegant and formal investigation of the phallus. Throughout her work, Lucas has both explicitly and suggestively conjured the image of the penis as both a controversial cultural icon as well as a banal human body part, remarking upon the male organ as the ideal stand-alone sculpture. In drawing parallels between the physicality of both the sculptural object and the male organ, Lucas slyly alludes to the shared history of power and preferences: verticality over horizonality, exterior versus interior, convex versus concave, visibility opposed to invisibility. Linguistic tropes and puns have consistently informed Lucas' multivalent and at times evasive layering of meaning, perfectly exemplified in the title "Penetralia," essentially defined as, "the innermost, the most private or secret parts." This title cleverly conflates its two inter-related terms, the penetrated (the "innermost") and the penetrator (the phallic object), by enacting a slippage in meaning between text and object.
Born in Holloway, London in 1962, Lucas has been the subject of numerous major solo exhibitions both nationally and internationally including: Museum of Cycladic Arts, Athens; Kunsthalle Zurich; Milton Keynes Gallery, U.K.; and Museum Boymans-van-Beuningen, Holland.
Penetrallus, 2010 Concrete;
26 3/4X13X15 1/6 inches(68X33X38.5cm)
OBODDADDY 3, 2010 Plaster, rubber, wlre mesh, flbreglass armature;
sculpture 45 1/10 x 13 1/5 x 16 1/6 inches (114.5 x 33.5 x 41 cm);
pedestal 19 7/10 x 35 2/5 x 19 7/10 inches (50 x 90 x 50 cm)
Tree Nob 1, 2010 Plaster, paster bandage, wood;
sculpture 13 x 6 1/10 x 5 1/2 inches (33 x 15.5 x 14 cm);
wood block 5 x 7 3/5 x 7 3/5 inches (12.5 x 19.5 x 19.5 cm)
Owl, 2008 plaster, wood, plaster 4 3/8 x 4 3/8 x 4 1/8 inches (11 x 11 x 10.5 cm);
wood 7 7/8 x 9 1/4 x 8 9/10 inches (20 x 22.5 x 20 cm)
Skull Whand, 2008 Plaster, steel wire, wood;
27 2/5 x 3 x 2 1/2 inches (69.5 x 7.5 x 6.5 cm)
SARAH LUCAS
"Penetralia"
November 18 through December 23
Gladstone Gallery is pleased to announce an exhibition by British artist Sarah Lucas. Since the 1990s, Lucas has been developing a unique material vocabulary using everyday domestic items such as stockings, clothing hangers, lightbulbs, and beer cans to create objects that challenge our collectively inscribed codes of gender, sexual, and social normativity. In this exhibition Lucas uses the male genitalia as her muse, capturing the tension between the representational and the abstract, while retaining the insistent and underlying anxiety imbued in her particular mode of the abject.
In this exhibition of new and older works, Lucas continues to explore the themes and ideas at play within her 2008 series of the same title, "Penetralia." Employing similar strategies of production, such as cast concrete, plaster, and fiberglass, these works engage the figure of the phallus with an intense formal clarity and wit. While the symbolic power of the phallus allows Lucas to play with an overt level of content and signification, she is also equally attentive to the basic conditions of the sculptural object implied in composition, weight, balance, and materiality. These aesthetic details animate Lucas' otherwise brute erections, rendering their contours, surface, and structure into an elegant and formal investigation of the phallus. Throughout her work, Lucas has both explicitly and suggestively conjured the image of the penis as both a controversial cultural icon as well as a banal human body part, remarking upon the male organ as the ideal stand-alone sculpture. In drawing parallels between the physicality of both the sculptural object and the male organ, Lucas slyly alludes to the shared history of power and preferences: verticality over horizonality, exterior versus interior, convex versus concave, visibility opposed to invisibility. Linguistic tropes and puns have consistently informed Lucas' multivalent and at times evasive layering of meaning, perfectly exemplified in the title "Penetralia," essentially defined as, "the innermost, the most private or secret parts." This title cleverly conflates its two inter-related terms, the penetrated (the "innermost") and the penetrator (the phallic object), by enacting a slippage in meaning between text and object.
Born in Holloway, London in 1962, Lucas has been the subject of numerous major solo exhibitions both nationally and internationally including: Museum of Cycladic Arts, Athens; Kunsthalle Zurich; Milton Keynes Gallery, U.K.; and Museum Boymans-van-Beuningen, Holland.
Penetrallus, 2010 Concrete;
26 3/4X13X15 1/6 inches(68X33X38.5cm)
OBODDADDY 3, 2010 Plaster, rubber, wlre mesh, flbreglass armature;
sculpture 45 1/10 x 13 1/5 x 16 1/6 inches (114.5 x 33.5 x 41 cm);
pedestal 19 7/10 x 35 2/5 x 19 7/10 inches (50 x 90 x 50 cm)
Tree Nob 1, 2010 Plaster, paster bandage, wood;
sculpture 13 x 6 1/10 x 5 1/2 inches (33 x 15.5 x 14 cm);
wood block 5 x 7 3/5 x 7 3/5 inches (12.5 x 19.5 x 19.5 cm)
Owl, 2008 plaster, wood, plaster 4 3/8 x 4 3/8 x 4 1/8 inches (11 x 11 x 10.5 cm);
wood 7 7/8 x 9 1/4 x 8 9/10 inches (20 x 22.5 x 20 cm)
Skull Whand, 2008 Plaster, steel wire, wood;
27 2/5 x 3 x 2 1/2 inches (69.5 x 7.5 x 6.5 cm)
