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ATTACHMENT 1 41 .�. ai S 4, Y. t• , _ t' `,'„iii„•• , t • '� /N. P. ...”1s ,r1 ..{♦ .r r '�.' •'i .7' 1.. %..A.L'' ytt y .(..-- . 4h'.} . ' .,• fry i .: ••.a: � �•S'9,''�•��` .'�, •.a. `" - _rye` �� ^t,• +.1.1■'r r � ' 0 .. ' . t ". r ,•' ri . ,, � '.,i ,t ' • I p - ' "rY r • ' r •• 1, �7 ` *4:i . .. N.Il• "..- -V. ,J ryt T A,•' •!�a„a • W.'^�',, -'∎ -� • .., . . ' •. . . ..C44111$4,..., r V ` �r • r. 44i.:..)Iro..—,,,. ,,:_i \-- .• Bronze 40 x 17 x 16 (Put on pedestal) Angela De la Vega–JOYFUL EMPOWERMENT There is so much beauty to see in evey given moment. I wish desperately that I could sculpt it all, like a camera capturing consecutive moments in time, separated only by seconds. For each scu pture, I listen to memory—a vision that does not fade, as it must come into being in all of its fullness. I always work with a model for this vision, a model that can represent a multiplicity of humanity, glowing with spirit and shaping light and shadows over form. I work ardently at a torrid pace,to make sure that nothing evades my grasp of what I see. As the sculpture develops, I can slow down and focus on details such as physical features of the subject. This is when I hope to focus on transferring the intensity of the subject sculpting a body that listens as a live face does. The addition of details such as clothing or accompanying objects within a sculpture are based on hours of research into culture history and photographs in order to achieve authenticity and realism.