2008 Woodie Awards
Student show breaks the mold
Alex Minor
Issue date: 1/24/08 Section: Arts & Entertainment
Walking into the Friday opening of "Skin Deep," graduating senior Angela Polly's exhibition in Owen Hall, all eyes easily transfix themselves on the array of human figures layered and mounted upon the walls of the gallery.
"I often explore themes related to being trapped and breaking free or emerging from an enclosed space," Polly said.
Polly's message of transcendence manifests itself in a shadowy light.
She developed a unique fusion of high realist and feminist styles in her sculpture.
Her art resonates with social and political import.
"The form of the human figure is significant to me because it represents the human condition. I use body positions and the interaction of bodies with each other to depict emotions," Polly, 25, said of her work.
Life casting, a process that has changed little over the past few centuries, contributes to the raw, organic feel of Polly's pieces.
Strong diagonal lines coupled with soft penetrating curves help create the dramatic melancholy of Polly's white figures.
"My favorite pieces were mounted on what looked like down comforters. There seemed to be a mix of emotions present. The figures grabbed at one another, but none of the implied movement seemed frantic," said Alexandra Rhoton, 21, a studio junior art student.
The facial expressions of Polly's figures appear soft, peaceful, but with an underlying trace of indifference.
"The starkness of the bodies is less intense because of the surrounding composition. They look comfortable, like it's an everyday activity," Rhoton said.
Polly explained the development of each piece as a highly involved process that must be thought out before construction begins.
"I have to have an idea of the overall composition of the finished piece before I even take the first step," Polly said.
"I often explore themes related to being trapped and breaking free or emerging from an enclosed space," Polly said.
Polly's message of transcendence manifests itself in a shadowy light.
She developed a unique fusion of high realist and feminist styles in her sculpture.
Her art resonates with social and political import.
"The form of the human figure is significant to me because it represents the human condition. I use body positions and the interaction of bodies with each other to depict emotions," Polly, 25, said of her work.
Life casting, a process that has changed little over the past few centuries, contributes to the raw, organic feel of Polly's pieces.
Strong diagonal lines coupled with soft penetrating curves help create the dramatic melancholy of Polly's white figures.
"My favorite pieces were mounted on what looked like down comforters. There seemed to be a mix of emotions present. The figures grabbed at one another, but none of the implied movement seemed frantic," said Alexandra Rhoton, 21, a studio junior art student.
The facial expressions of Polly's figures appear soft, peaceful, but with an underlying trace of indifference.
"The starkness of the bodies is less intense because of the surrounding composition. They look comfortable, like it's an everyday activity," Rhoton said.
Polly explained the development of each piece as a highly involved process that must be thought out before construction begins.
"I have to have an idea of the overall composition of the finished piece before I even take the first step," Polly said.
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