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Stone Animals
Ailene Fields Captures the Humor, Tendernessin Nature’s
Creatures
Story by Debra Kronowitz
Sculptor Ailene Fields believes that if magic ruled the universe at
its most basic, then perhaps the rulers and the laws of physics are
elves and fairies. “Perhaps, those we call magicians have learned to tap
into the most basic forces of nature and apply them to everyday life.
While the laws of physics are unforgiving, magic allows for second
chances – maybe a kinder, gentler universe,” she said.
Fields charms with her whimsical creatures. Her bronze and alabaster
sculptures of real and imaginary animals impart a wonderful sense of
playfulness and tongue-in-cheek humor. She creates a light-hearted
satirical mood in her choice of titles, such as the bronze dragon with
bones called Home is Where the Horde Is or the alabaster dragon
named Do You Mind if I Smoke?
which defies us to restrict his rights of
fire breathing dragonhood. The bronze and alabaster Cheshire
Cat slyly eyes us as it emerges (or disappears into) a rough stone
base, displaying only a tantalizing grin and a flash of tail. The
Frog Prince, complete with crown, invites a kiss… who knows what may
happen.
Fields’ approach to these animal forms is unique. She transcends the
literal reality of each piece by selecting and registering only those
aspects of personality that intrigue her. She presents this essence in a
form that captures the viewer’s imagination. Her intent is not to
precisely replicate nature, as she says. “One simply cannot compete with
God, but rather to freeze-frame the creature’s uniqueness.”
Referring to her alabaster sculptures, Fields believes that each stone
evokes nature in a different way. She respects the hard physical work
that is a necessary part ofthe process and half-jokingly suggests that
“it’s good for New Yorkers to bang on stone, it releases tension. More
seriously, I find it truly exhilarating to peel away the layers and
uncover the creature waiting within. I am always trying to determine how
a piece will shift and change in the process of formation. I find this
extremely challenging. |
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Photos courtesy of Ailene Fields |
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“Alabaster also affords me more time to change my direction and that lends
itself to the greater spontaneity which I have always strived for in my
work. You don’t have to rework every line as you do with clay. It’s an
immediate process. You just know where to go and have to let this part
of you take over. It’s not an intellectual process; in many ways it is
as if you are not in control.”
When Fields first began working with stone she carved by hand,
completing only two sculptures per year. Using an air compressor, she is
now able to convert her thoughts into pieces more rapidly and fluently.
She has gone beyond animals and has sculpted people as well. Her newest
works, Sacred Spaces, was inspired
after 9/11. “During that time everyone was saying that they needed their
own place to hide or seek solace; they needed a safe place,” she
explained.
Her dedication to the process is beyond question, as she pays careful
attention to every step of the process. She roughens each sculpture
until no bruises appear in the stone – refining each piece with
sandpaper and polishing each for many days in order to achieve the
desired effect.
Fields fell in love with clay after enrolling in a pottery class at
Earthworks in New York City. Her formal training in sculpture began in
the New School under the tutelage of Bruno Lucchesi. Since 1985, Fields
has taught numerous sculpture classes at the Sculpture Center for both
children and adults. |
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