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ATTACHMENT 2 <br /> • 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 ra , . <br /> Renaissance was painting, when art <br /> audiences were captured by the artist's use ; t`' r <br /> of line," says DeMoss. "In my work, I <br /> introduce the line to reflect the process of . a <br /> creation, and to add thoughtfulness and .'' <br /> depth to each piece." <br /> ti4 <br /> DeMoss uses the centuries-old ovo-- <br /> method of "lost wax" casting. His work <br /> r;. <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 <br /> the artist's imagination to reality — and has '%i. <br /> the effect of expanding the figure's <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 <br /> can convey a variety of emotions, his <br /> platters and bowls are more serene in <br /> feeling. Again, DeMoss uses fragmentation �,4'� Y,'w a _ <br /> of these pieces, in both bronze and with i. <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 />