them. Although hers is not

Each year students

the only piece in the show to
marry the concerns of
bronze and marble, it is

from Advanced Stone-

Carving and Foundry
Practise courses at
Capilano College put
together a group show.

The sculpture on view at
the colleges art gallery until
February 7,9 a.m. to4 p.m.,
Monday through Friday, is
work from this. pool.
Exhibitors have often been
Studying and working for
several years and are, by
now, producing mature
work. This year, instructor
Dave Marshall and assistant
Dwayne Neuberger have
helped these advanced
students mount a_ very
respectable display.

The show consists of
seventeen pieces. Curiously,
eight of them are heads. One
of the most successful of
these is the marble “MASK”
by Kathleen Amscough, an
upturned head surmounting
a box-form. Geometric
facial features emerge from
the organically shaped head
producing tension and a
confluence of primitive and
futuristic associations.
Flawless “modelling” causes
the piece to be more
compelling with each
subsequent glance, the
symmetry becomes
meditative. Influences make
themselves felt here: Moore.
Noguch:, Marshall.

Where Ainscough’'s
“MASK” derives its power
from strong design and
superb craftsmanship, Jill
Tebbitts “ENIGMA” gains
through a= sensitive jux-
taposibon of materials and

her expressionist handling of

among the most successful.

“ENIGMA” is a seull-shaped
marble form over which an
atrophic bronze mask/neck
has been fashioned. Thus,
the marble extends, shows
through where the bronze
doesn’t. It is a disturbing
work which suggest rotting
flesh. Expressive power was
gained in her modelling of
the malleable wax. This was
amplified by bringing the
bronze cast of it to a high
polish in some passages and
leaving the bronze formed
by wax drips in others, quite
faw, suggesting the
deterioration of flesh.
Passages in the marble
element vary as well, raw
stone played against fine
finish. Process, here, yicids
expression.

“HEAD” by Trinita Waller
is a curiously contemporary
design which owes as much
to the fashion of the day as it
does to the  Brancusian
influence it suggests. Here
again is a beautifully crafted
stone and the best example
in the show of a traditional
material suited to a current
context. Its peculiar httle
“eyebrow” detail, “pointed”
into. the” fine” finish 1s
delightful.

The abstract “ST
SEBASTIAN" by = Carl
Merton 1s a modified, u-
form, pierced through the
longer of the two obhque.
upstretched “arms” by eight.
highty polished. stock,
bronze rods. The marble
element is flawlessly
executed with a jeweller’s
eye to hght on line, and of
strong design. The surface

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ST. SEBASTIAN by Carl Merten is one of the sculptures on display at Cap College.

gains variety through a_ realized.

juxtaposition of highly Though these four pieces
polished passages played are risen cream. several
against bushhammered ones. others are

noteworthy.
These

two surface treatt “MOTHERHOOD” by Bob
menis butt against one Matza is a bronze mare and
another along exquisitely young foal on a contoured
crafted bevels The two wooden base Vhis is good
ideas conveyed by the ab- academic modelling in the
stract design are penetravon manner of Fredenc Rem-
and ascendence confirming mington. Matza could hang
the title, “ST a shingle out ina Banff street
SEBASTIAN” Excellent and begin making a living
concept, cloquently CONTINUED ON PAGE (2

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