Sherry L. Nees
Sculptor
My work deals with the human animal and, specifically, the complexities of human emotion and behavior. An Approach of this subject from a first-person perspective has enabled me to gain insight into some of the more delicate aspects of the human psyche. On its most primitive level, my work appears to be solely
self-portraiture. Upon closer inspection, however, the various levels unfold like the turning pages of a book to reveal a subtle discernment of my character as well as an acumen of many social tendencies. For example, in the sculpture "Secret Society" the subject is withheld from the viewer at first sight. It is only when the viewer looks into the work through a peephole that my face, covered with spikes, is discovered. This is a suggestion of the aggressive tendencies within the sub-conscious and their underlying propinquity within us all.
The format of my sculpture generally consists of a rectangular box containing collage and an assemblage of found objects. I employ wood as my primary medium because I love its sensual qualities- its look, its feel, its smell. When working with wood, my hands become one with it. I run my fingers across the grain as if to "see" with them and sometimes spend hours at the lumberyard looking for that one perfect piece, the one with the swirling grain or the unique coloring. These characteristics are harmonious with the techniques I utilize in creating my art.
By introducing the wood to an assortment of tools, certain technical attributes become integral to the overall aesthetic of my work. The use of a tablesaw enables me to make precise cuts and create many different types of joinery. The finger joints present in some of my pieces are created on this tool. Curved surfaces are achieved through the use of a bandsaw, and/or lathe. These tools allow me to manipulate the wood to meet specific needs and design-oriented goals.
The surfaces of my sculptures are as important as construction methods and materials. Through the use of various painting techniques I am able to achieve many different textures. An illustration of this is the sculpture "Right Brain, Left Brain". In order to obtain an aged feel, I marred its surface by hammering an assortment of objects into it, applied 30 light coats of alternating colors of spray paint, dry brushed it with five different colors ending with the dominant hue, and finally steel wooled the entire surface. This aged surface adds character to my sculpture.
Among the artists who have inspired me is Joseph Cornell, a master of box assemblages. We both generate continuing underlying themes and use repeated imagery throughout our bodies of work. My sculpture "October 28, 1966" relates directly to one of Cornell's pieces and is my tribute to him. Another influence on my work is Alexander Calder. His playful, innocent spontaneity has always charmed me and I try to incorporate these traits into my work.
Artists are not the only individuals who have inspired me. I look to the work of several modern day craftsmen as well. For instance, Bob Vila and Norm Abram are two of my greatest influences. Through their television programs I have learned a great deal about construction, technical precision, and attention to detail. This has enabled me to fabricate my boxes with a heightened degree of complexity.
My artwork is comprised of deep rooted human characteristics and social idiosyncrasies as presented within an enclosed environment. Through the exploitation of materials I obtain a look and feel to my sculptures which convey discreet messages about specific issues. My goal is to confront topics like human sexuality and deviant behavior in such a way as not to openly present them to the viewer, but to just suggest their presence. This leaves interpretation of my work solely to the individual depending upon their personal intellect and preferences.
-Sherry L. Nees