Sculpture Series Retrospective • 1990-2016

Constructions: wood, Venetian lime plaster, century plants, ink, gouache

The title of this series speaks for itself. These pieces are a cathartic meditation on the transitions we face by the very nature of being. Throughout our lives, we are so often called to accept the inevitable passing of people, places, animals, and things. Beneath the loss and unbearable sadness, these experiences also serve as reminders that one day our fate, too, will take its place in the stream of transient mysteries. While the mind may wrap itself in rational acceptance, the heart demands so much more.

The century plants used in this series were gathered during long walks in the desert. As I held them in my hands to paint, they transformed into my scepter, my magic wand, my axis mundi—the earth’s axis leading to heaven. I learned that Century is the family name for hundreds of indigenous desert plants that bloom only once in their lifetime. Among them, agave and yucca are the most widely known. Towards the end of their life span, a long stalk emerges from the plant’s base, crowned with white (yucca) or yellow (agave) blossom clusters. As the plant matures, both the stalk and the plant itself dry out, but not before ensuring the continuation of life. These plants produce shoots at their base that give rise to new growth, and once the dried seed blossoms scatter thousands of seeds to the wind, the life cycle begins anew.

It is a poet’s heart that looks to metaphors to explain the things that the eyes can see, but the mind struggles to answer. —mo

Still Point represents a state of homeostasis often referenced in healing arts such as Yoga, Reiki, and Craniosacral Therapy. At its core, it describes a condition of spaciousness and timelessness, pulsing between mortality and immortality. I envision it as a place of surrender and acceptance—of things greater than oneself. It is an elusive state of peace and knowingness, resting in the pause between inhale and exhale.

In this series, I return to the vessel form as a universal signifier of humankind. Each piece is crafted on the potter’s wheel, embodying the essence of the earth’s rotation and the energy of balance. At the leather-hard stage, the vessels are carved and shaped. A monochromatic, burnished surface is achieved through the application of terra sigillata (sealed earth). After firing, precious handmade objects are added selectively—sometimes carved from porcelain, polymer clay, or fabricated metal.

The inspiration for this work is the result of sorting through various philosophical standpoints and accepting a place of quiet simplicity amid the transience of all things. 

The word Nirvitarka is borrowed from Samadhi Pada 1.43 of the Yoga Sutras of Patanjali. Abstractly translated, it means: "When the memory or storehouse of modifications of mind is purified, then the mind becomes devoid of its own nature, and only the object on which it is contemplating shines forth; this type of concentration is known as Nirvitarka" (1.43 Sutra).

This series weaves the simplicity of nature into the complexities of the heart and mind, aspiring to create a brief encounter with the Sublime. Raw materials, including cement and hydrastone, are used to sculpt individual sanctuaries that emulate water-washed stone facades. The rock-hard cement is hand-polished and smoothed with pigment and encaustic, giving each piece a tactile and timeless quality. Intimate paintings and photographs, capturing snippets of nature, are placed within these sanctuaries. 

Objects such as bronze and silver spheres, cylinders, squares, and triangles dangle from handmade chains to complement the philosophical narrative of each piece. Religious symbols, including the cross, are borrowed—not necessarily as identities tied to the church, but as emotional emblems of martyrdom, reverence, and love.

Staircases, windows, and ladders invite the viewer to journey into rooms and chambers that metaphorically represent an exploration of different states of being. Each piece is designed to evoke abstract notions of opposing yet complementary characteristics, such as male/female, earthly/spiritual, and unity/isolation.

Much like poetry, the lyrical quality of this series encourages viewers to engage with the symbols in a deeply personal and interpretive way.

Photographic images are used to express universal states of being. Each image is etched into metal, symbolizing the protection of the fragile. Every piece contains a vessel that holds the essence of the subject (as time capsule). These constructions become sanctuaries for our most intimate memories, dreams, and hopes.