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Torso #3 (Dancer), two views: Bronze with black patina and highlighted edges, height: 11", 1982

This third exploration deals with movement—how it is signalled within the torso without the expressive, narrative qualities of the head, face, arms, hands, legs and feet. Since all the muscles respond in consort, can a movement's intent be discovered in every muscle?

Geometry's clear logic has always appealed to me. Describing the body through geometry clarifies, despite—and because of—its artificiality.

 
 
 
 
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