This is my first life size sculpture; it took five months to finish it from start to finish. Materials used: celluclay and egg cartons.



8 thoughts on “Daphne

  1. 100swallows November 22, 2012 / 14:05

    Congratulations, Erika! It’s a great achievement. This is all yours: the idea, the shapes, the material. It doesn’t look indebted to any sculptor that I know. (Matisse said that a young artist who can’t overcome the influence of the masters is digging his own grave.) The features are figured out, not just copied from nature. They are simple and strong.
    Like Bernini’s Daphne, she is caught running just at the moment of metamorphosis and you’ve given her a nice movement of the legs (photo from behind). Her back does already have something of the tree trunk and her arms, not just her fingers, of branches. At first I wondered whether her forward leaning didn’t make her seem unstable. I know trees often lean sharply but you can suppose they are well-rooted. But now, after looking again before posting this, I see that the spread of fingers/branches above her head probably compensates the forward lean.


  2. 100swallows November 23, 2012 / 14:05

    I see this was left out when I copied over what I had written to put it in your blog:
    Daphne ran from Apollo to keep her virginity. Nowadays I guess we’d call it her independence, her dignity. Bernini’s Daphne is still scared and not sure she is going to escape. Yours you froze a moment later and she has made it. She breathes deeply in relief and smiles at her triumph. Though she is now a tree (!), you have made her a proud and noble mortal, like one of Michelangelo’s men. Why shouldn’t a woman figure finally represent mankind?

    Hey, in my comment I said I couldn’t think of the immediate influence of any artist on your work and there probably wasn’t any. But now I remembered William Blake’s figures and see a similarity. Do you know him?


  3. erikatakacs November 24, 2012 / 14:05

    Thank you, Swallows, interesting read. But I must say, and you must know this yourself, a few pictures are a very limited way to express a sculpture’s overall feel. There is no triumph, just struggle in the smile and hands. I love Bulfinch’s telling of the story, and I was intrigued how her reason or reasons are never really properly explained. It’s a mystery. There is something uneasy and heavy and profound about it; that’s what I wanted to express. Her forward lean is actually a bit threatening if you’re standing in front of the sculpture. As if the sculpture will fall on you.


  4. tomi December 30, 2012 / 14:05

    lenyugozo Erika! valami vedo lakkot hasznaltal e a befeljezeshez?
    pompas alkotas! es all a laban,ez is egy nagy kihivas kell legyen! gratulalok!!!nagyon boldog UJ Evet kivanok nektek is a fiam oldalarol ;).szeretettel ildiko


  5. erikatakacs December 30, 2012 / 14:05

    Igen, mindig hasznalok lakkot, de utana tompitom a fenyet festekkel. Bizony, a legnehezebb resze az volt, hogy ne doljon el, es ez a teny befolyasolta a vegso kinezeset sokban. Nagyon sok csavar van a lababan, de igy is ketseges, hogy hosszu tavon hogy all meg. Legjobb lenne bronzba onteni, de az horribilis osszegbe kerulne. Igy hat a falnak forditva all most. 🙂 Nektek is minden jot jovore!


  6. tomi January 21, 2013 / 14:05

    nagyon erdekes a festekkel valo tompitas!es nagyon tetszik a texturaja.volt mit dolgozni rajta!nem lehetene esetleg betonba onteni?igaz,nagy a riziko.elronthatja a mestermuvet!
    minden jot nektek is!


  7. erikatakacs January 23, 2013 / 14:05

    Hat sajnos maris megvan a problema. A preselt lemez, amit hasznaltam alapnak, kezd szetvalni hatul az elorehajlo suly miatt. Azon gondolkozom, vajon ha cementet ontenek ra, segitene-e. Csak tudnam,hogy miert nem mar elejetol nem gondoltam ra….


  8. Anonymous February 20, 2013 / 14:05

    szerintem igen,de talan egy mernokot kellene megkerdezzel.nem mernek szaktanacs nelkul hozzalatni.udv.ildi


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