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stretched, paced and stared from their display case. Her wildlife crosses the line between art and mere accurate representation by capturing the animal’s intelligence and spirit. Nowhere is this more evident than with Lewis’ bronze snow monkeys. The warmth, protectiveness, love and dependency of the mother-child relationship speaks just as clearly from the pose of the aninials as it would from the more conventional posture of human mother cuddling her baby.
JUNE JORDAN’S ceramic sculptures are animal art of another sort, portraits of dearly beloved friends as opposed to symbolic imagery. The personalities of Jordan’s chickens, all family pets, show in the tilt of the beak, the cast of an eye, the lift of a taloned foot. Also evident in the three pieces is the evolution of her work from abstract to near representational detail.
LAURIE MARSHALL’S montage, “Money and the Mother Mold,” Auj the exhibit’s most arresting work. The juxtaposition of images-happy babies, hungry babies, young mothers, bent old grandmothers, soaring eagles and cold cash - tells of a parent’s fears
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