CAROL GOLD: “I sculpt in wax, then cast into bronze.
“I have chosen to work with human and animal forms to best express my feelings about nature and the human condition.
“I strive to convey a mood as well as create a sense of motion in space. Through the years my sculpture has moved in the direction of increasing simplicity….”
I had the very good fortune to live in the same area as Carol in the early 90s, and was able to visit her in her studio.
I was so impressed with her ability to get so much movement and depth of emotion in such simple forms.
Her handling of the wax she uses as her base medium is exemplary – using it sparingly, details forgone in stark, yet incredibly soft, powerful movement.
Carol doesn’t go in for the loud, jazzy patinas you see on a lot of contempoary bronzes. She sticks with accentuating the form and feeling of each piece by using graduated bronze coloring or the soft greens found on old statuary.
Carol is a true master of her art. Through spare detail and restraint of line, she expresses the full range of the essence of being, and the elegance of the physical form as it moves through emotion and the natural world.
To listen in on our complete interview (31 minutes) on Outdoor Sculpture and all about it, how Carol got commissions, makes her art, and more, go HERE or click on the I Dare You Radio logo to the left.
Carol was Featured Artist of the Month on the International Association of Women Sculptors website last month – see images of her work HERE.
And you can see the beautiful article about Carol and me on pages 33 through 39 at the online magazine, Artizen Magazine this month HERE.
Born in Hartford, Connecticut Gold grew up on a dairy farm in western Massachusetts.
Between 1956 and 1960 she studied art at Cornell University, Boston University and the Museum School in Boston, but it wasn’t until 14 years later, when her children were old enough for her to return to sculpting full time, that her work began to develop and change.
Bronze casting techniques learned at the College of Marin in the 70s enabled Gold to build her own foundry, which she operated for 12 years.
This intimacy with the entire casting process profoundly affected the evolution of her sculpture.
She began to think in terms of the potential of the metal and started to use wax as her creative medium rather than clay.