I know this to be true about me: since my pursuit of making sculpture began, alone in a flat in Ballsbridge, Dublin, back in 1995, my central question and interest has been: form over surface...
In the late 90’s, during my sculpture studies in England at The Frink, my focus on form and my interest in bringing life to my shapes was nourished and grew. In this incubation years, I don’t believe I was much aware of the language of surface and texture.
In my studio life in Vermont, which began in 2001, I discovered slate and dived into the exploration of bas relief. And still, my focus was on the quality of my forms versus the quality of surface and texture. During these years in Vermont, I also have made stone sculptures in the round. And developing and resolving my forms has been foremost over surface treatment. But now, in my new exploration of wood, everything has changed.
For the first time ever, I have made a sculpture where I am experimenting with texture. I was not conscious of this in the making but this piece seemed to ask for it. Also, my usual “let’s get this over with quickly” attitude for finishing has not worked. Sanding wood has many more stages then stone and I have not been able to defy this law. My butternut girl, indeed, seems to be asking me to slow down and smell the roses. She’s nudged me to surrender my hardened un-celebratory attitude towards surface treatment. And today, I am looking at her with new eyes. After weeks of finishing-stage-resistance, and in the acceptance of my slow and steady work days, I am seeing and appreciating the beauty of her texture and grain.🐛🦋 🌟#kerryofurlani #sculptorjourney #herstory