New York, NY (PRWEB) February 21, 2008
Cynthia Eardley's exhibition of polychromed figurative sculptures at Ceres Gallery, 547 W. 27 St., New York City, continues through Saturday, February 23.
Through interpretation of human form and the psychological complexity of human facial expression and gesture, these hand-modeled sculptures convey, in part, a convergence of beauty and tragedy, pleasure and pain. In the pastel colors of a bright sunny day, the young woman of "Witness"--a grown-up Alice--depicts that instant when, in response to unspeakable tragedy, a line is drawn and our lives start over. It conveys the abrupt end of a certain kind of innocence, permeated by a sense of unreality. Similarly, the "Broken Man" responds to the disembodied, small white hands that offer--what?--a chance to be whole again? an end to his misery?
Meanwhile the nude woman with the slender neck assesses the viewer--favorably? Probably not, but maybe. No one can be sure. The lovely "New York Girls" and the blazing, sensual teenager of "Hot Fiction" are also thinking, possibly about the viewer, who may be of another generation. Their forms and gestures convey a range of emotions, from bemusement to mild disdain, mistrust, annoyance, possibly anger. Through flowing form and rich color, "James" confidently assesses and observes, while "New York Man" appears on edge and on guard. The melancholy "Laughing Woman" may have reached a point of transition, while another observer, the mysterious small child of "Guardian," seems older and wiser than her youth implies--a solid presence, modeled to suggest the sensuous simplicity and stability of ancient Egyptian "portraits."
Cynthia Eardley lives and works in Lower Manhattan, where she teaches sculpture, anatomy, and art history at the New York Academy of Art Graduate School of Figurative.
547 West 27 Street
New York, NY 10001
tues, weds, fri, sat, 12-6; thurs 12-8