New Sausalito exhibition Highlights Various sculptures – Marin Independent Journal

Tradition, mood, boldness and ingenuity combine in a new sculpture exhibition in the Sausalito Center for the Arts.

A collaboration between the National Sculpture Society and the Sausalito Center for the Arts, “The Art of Form”, was opened last Saturday with a well -attended reception.

The exhibition runs until June 15 and contains more than 50 sculptures of a few dozen artists as well as many portraits of the painter Paul Morin and others who work in two dimensions. The main boost of the show is the diversity in the sculpture – from human busts and torsos to animals realistically and imaginatively in pieces that are exquisite design exercises.

“It is a regional show,” said sculptor Lance Glasser and exhibited the show's advertising mass, “perspectives from the West”.

Glassers bronze pieces are “still existed”, a 22-inch representation of a climbing woman who has not been burdened by a structure. His “Kunoichi” is a similarly scaled bronze statue of a fluctuating warrior, apparently in the heat of the fight.

Bronzes are all over the Sausalito Center for the Arts. “Meet the Shoebill Storch” by Jacquelyn Giffré Riffs about natural bird forms, without being a realistic representation, and Christopher Keating offers a humorous view of breakfast with his wall -mounted “sunny side”. Adam Matano is big with “Rascal”, a fantastically rendered gigantic eagle, and “dispute”, the head of an IBEX with massive horns that holds an arrow in the mouth.

Marin sculptor Brandon Stieg's “Rise” is one of the most impressive and funny parts of the gallery. With a height of more than 7 feet, it is a professionally rendered tentacle of a huge ink with an unfortunate human diver at its head, like a imagination from a classic underwater adventure. “20,000 miles under the sea”, someone?

Horses are always popular for artists in all media. There is a lot in “The Art of Form”, from a disturbingly distant and almost life -size head in the fired tone of Mohammad Ranjbar Sadeghi to “Blue Blue” by Rosie Irwin Price, a sweet representation in the dark bronze of a past horse that maintains itself. “The ITCH” by Deanna Rae C. Montero is a delightful little amber representation of a horse that scratches his face with one front.

Andrey Sledkov is inspired by the western artist Frederic Remington from the 19th century with two considerable pieces by the American indigenous people on horseback, “Tribe Chief” and “Ute Chief”. He also dares with “tears of motherlands”, a three -member scene in the liquid marble of two disturbed women who stand above a drought and probably injured man. One of the various approximate life -size busts is a ceramic piece entitled “President Zelenskyy” by Marin Artist Cornelia Nevitt, a silent memory of the heroic leadership and the durability of Ukraine in view of the long -standing horror in Eastern Europe.

Paul Reiber has some labor -intensive wood carvings, two figurative pieces, “fear” and “caution” and some composed water creatures entitled “Fishball”. One of the most impressive wooden structures includes Stiegs “Stra”, a 7-foot tower made of carved carved balls-a beautiful decorative design.

In such exhibits there are plenty of exercises in design. Emil Yanos' “scatter theory” is a flat mandrafty collection of nine rough circles in a quadratic framework that resembles woofers in beaten speakers. Mark Brodie's “Fundle of Spatiality #3” is a cast glass-on-granite collection of rectangular geometric forms, while Jonathan Livingstons “Gnomon for Gina” is a high length of white painted aluminus angle through precisely placed small nail. The Pamela Merory Dam offers flat, steel -huntary steel wire creations “Covalent Bindings II” and “Vignette II”, while Turaj Ebrahimi simply presents a collection of compact welding camps with the name “Four Wall Sculptures”.

Christine Cianci has a beautiful ceramic-mit-pigment-bas relief wall proposals “Allegory of the Tarot” and “in the garden”, while Heidi has disappeared to realize basement realism with “portrait of nanette dyer” and “Japanese American internation”.

The only dog ​​in the exhibition-joke-is fan yus violent “another step”, probably a warning not to get closer. The human figures include Nathalie Whismans more fire -friendly Golden Torso “Midas Gal”, Moana Ponder's “Broken Wing”, Konrad Dunton's impressive “journey inside” and two seated people in the “Annex therapy” by Ann Capitan. Catherine Bohrmans translucent green glass figure “Lithe” is simply beautiful.

On the contrary, the opposite, exhibits like this without exception, questions from the favorites. For me, Susan Amorde's humorous “everything was considered”, an old case, so that a compartment serves as a kind of closet with a figure of a woman that says. Outside the closet, there are three similar -looking women who stand in a row as if they were looking at their purpose or identity. Amorts distortions of perspective and relative size are brilliant. So are their effects.

Contact Barry Willis at barry.m.willis@gmail.com.

When you go

What: “The art of form: perspectives from the West”

Where: Sausalito Center for the Arts, 750 Bridgeway, Sausalito

When: Until June 15; Wednesday to Sunday from 11 a.m. to 5 p.m. to Sunday

Permit: Free of charge, donations accepted

Information: sausalitocenterfortearts.org

Originally published: May 21, 2025 at 12:00 p.m. PDT