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Max Demoss - "COMET" <br /> Sculptor Max DeMoss plays with the <br /> mysteries in the ancient art of bronze <br /> casting in the creation of him completely <br /> unique figures, bowls and platters. <br /> "The mass entertainment of the 4. � "- --, -. <br /> Renaissance was painting, when art �~ - <br /> audiences were captured by the artist's use 4 ,'; ,f <br /> of line," says DeMoss. "In my work, I <br /> introduce the line to reflect the process of , es <br /> creation, and to add thoughtfulness and ``' <br /> .�' <br /> depth to each piece." ''� r {:'. <br /> DeMoss uses the centuries -old ": , ' 1,...", ° ' "; <br /> method of "lost wax" casting. His work <br /> comes alive specifically because each <br /> piece is broken open, letting in light and ' <br /> space, subtly informing the observer of its <br /> origins. The sculptural fragmentation <br /> implies motion, suggests the transition from 99 f` <br /> the artist's imagination to reality — and has F ,.- <br /> the effect of expanding the figure's •:'_ <br /> p g 9 <br /> presence, as if tugging on the space around <br /> it In these ways, the feeling of aliveness in <br /> DeMoss' work is genuinely unmatched. <br /> While DeMoss' figurative sculptures i k; <br /> can convey a variety of emotions, his <br /> platters and bowls are more serene in <br /> feeling. Again, DeMoss uses fragmentation <br /> of these pieces, in both bronze and with <br /> inlaid silver, to create a line which the ` "'� <br /> viewer's eye follows. <br /> DeMoss works daily in his own foundry where he lives near rural Hemet, <br /> California. <br /> Bronze & silver on granite 136" x 30" x 62" One of a kind $23,500 <br /> Proposed location: Behind Firehouse near building on left side near theater <br />