p PAGE 29SUMMER 2011


intuitive and intense and the sculpture arrives in a short period of time. Only after that do I even notice that there are any parts missing. I don’t stop to consider ‘why’ or ‘if’ -- I just finish the sketch and then really take a look at it, and tally up what I’ve got. Sometimes I’m puzzled, but mostly I think it feels right. Rarely if ever do I make additions of ‘missing’ parts. They may have been there at some point in the process but if they don’t make it to the end, then they weren’t really important.”


Her recent sculptures in stainless steel do not immediately resemble her rounded forms in stone and bronze; however, they do echo her themes of transformation and reinvention. An example is “Passages,” in Toluca, Mexico. A 305cm x 220cm x 180cm series of doors or portals, which are all connected, represent personal and literal passages, the notion that we are continually tested and changed through life events that transform us – our choices as to how to respond and move forward.


“Dream Cloud,” a four meter tall stainless steel sculpture in Istanbul, is a series of connected spheres atop a pyramidal obelisque. The spheres, some large, some small, some


perforated -- all with different textures, overlap each other in a cloud formation and turn softly with the wind. The spheres represent dreams – perhaps a dream we’ve had since childhood, new dreams, changing dreams – some that have come true, some we have given up on, some we are actively pursuing, some are just in the back of our minds. They may change in order and scope with changes in our lives, but they are all still there somewhere, and they can come true.


Carole’s bronze and stone sculptures have been exhibited internationally, and her monumental sculptures can be found in museums, municipalities, sculpture parks, and corporations. Locations include Vietnam, Russia, Poland, United States, Mexico, Argentina, Korea, Egypt, Turkey, Germany, and China.


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