Sculpture. First exhibition of an artist from outside of Montreal, made possible by a special grant from the Conseil des Arts du Canada

Throughout recorded history and in the visual arts, sexuality, both female and male, has been defined and depicted by men. Women had neither been given nor assumed the opportunity to explore sexuality in art. Consequently we have inherited a view which is unrealistic, biased , and decidedly limited in interpretation. At present our philosophical outlook is phallocentric. It is essential that the female viewpoint coalesce with the established ideal in order to achieve a more humane concept.

In our present mechanistic age we are bombarded with a tremendous barrage of sexual imagery. It is unfortunate that the indiscriminate use of sexual imagery has little or nothing to do with sexuality, but becomes a device of psychological manipulation.

In this exhibition I have endeavoured to present a more humanistic approach to sensuality and sexuality. Although my images are limited to female and male genitalia, there is an attempt, on my part, to depict them with humour, gentleness, care and love. I have tried to rid the word of all pornographic associations and to show a positive view of sexuality--a view that is life affirming and healthy rather than degrading and perverted.

In order to achieve my purpose I have used a variety of materials. Some are traditionally accepted media such as hydrocal, plaster, bronze, aluminum, polyester resin, as well as materials considered to have few sculptural possibilities: rusty nails, hardware, horse hair, stainless steel wire and simulated pubic hair. The unusual materials enhance the formal plastic qualities as well as the expressive aspects of the sculpture. "Easter Nail Fetish" embodies an expressive mysterious quality because of nails in "hedge hog nail fetish" lose their destructive quality and become a pleasant, colourful, mild texture. The difference in expression occurs through the arrangement and distribution of the nails.

Most of the pieces in the exhibition are highly volumetric with little or no consideration for negative space. They are explorations into classical formalism which are derived from self-contained isolated objects in space. Each has an existence of its own and is complete unto itself. These characteristics are embodied in the sculptures entitled "THEA", "DEMETER" AND "KORE".

African influences in the use of materials and forms are evident in the Nail Fetish objects and the pieces entitled "GAEA", "OMPHALOS" and " SAMSON".

There is a sexual ambiguity evident in many of the works. The male pieces entitled "URBOROS" display the traditionally attributed female genital. "GAEA" is characterized by being both genital and mask. It is this paradox which gives these works their tension.

Since 1972 I have been dealing with life images in the form of female and male genitalia. Numerous changes in form and attitude have occurred during that time and these are reflected in the works in the exhibition.