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Max u����������n
<br /> o�n Demoss -~ ��"�vn�u�� u
<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 figunes, bowls and platters '- ���' ~
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<br /> "The mass entertainment of the
<br /> Renaissance was painting, when
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<br /> audiences were captured by the artist's kus�|
<br /> - '
<br /> of line," says DeMoss "In my vorof
<br /> introduce the line to reflect the process
<br /> `'
<br /> creation, and |o add thoughtfulness and ^
<br /> depth to each piece. '
<br /> DeMoss uses the centuries-old
<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 o f s „,,,.. .!,
<br /> origins. The sculptural fragmentation
<br /> implies motion, suggests the transition from
<br /> the artist's imagination to reality - and has
<br /> the effect of expanding the figure's
<br /> presence, as if I:ugging on the spaoearound
<br /> it. In these ways, the feeling of aliveness in .,y,r, ; ..,::-.;, '„,.... ,
<br /> DeMoss' work is genuinely unmatched.
<br /> While DeMoss' figurative sculptures
<br /> «A4iT it 4,,,4'...:'': '.,,,71'''' ,''','i,'t$79'
<br /> Can convey a variety of enoiions, hiin G
<br /> i4i.";3'^,..,'''' ',' „,:** '” ''.' ''',.,.:7,!.+i,.. .1,1
<br /> platters and bowls are more serene
<br /> feeling. Again, DeMoss uses h3gneUt@boD
<br /> of these pieces, in both bronze and with ' - '
<br /> inlaid si|ver, to create a line vvhiCh the --- � ~^~~~--~~ —' -^ ~�
<br /> viewer's eye fo|ow/s.
<br /> DeMoss works daily in his own foundry where he lives near rural Hemet,
<br /> California.
<br /> Bronze & silver on granite 138^ x30^ x 62^ 0ne of a kind $23.500
<br /> Proposed location: Behind Firehouse near building on left side near theater
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