Silvermine
DONNA FORMA Rhythm and Mood
January 13 - February 15, 2024
2
Donna Forma, who taught sculpture for seventeen years at the Hartford Art School at the University of Hartford, dedicates her time to working full-time in her studio in Southport, Connecticut. The title "Rhythm and Mood" encapsulates her intent with her sculptures: to invite viewers to personally experience the fluidity, motion, and beauty inherent in nature. She aims to foster a connection that, in turn, inspires a deep appreciation and love for nature, emphasizing the critical and vital importance of preserving the natural world.
3
ARTISTS STATEMENT
Just before he died, architect Louis Kahn wrote a eulogy about another architect, Carlo Scarpa. These words are what I aspire to in my work: ‘Beauty’ the first sense Art the first word then Wonder Then, the inner realization of ‘Form.” The sense of the wholeness of inseparable elements. Design consults Nature to give presence to the elements A work of art makes manifest the wholeness of the ‘Form.’ a symphony of the selected shapes of the elements. In the elements the joint inspires ornament, its celebration. The detail is the adoration of Nature. I am an avid gardener, always looking intimately at natural forms. Where one takes a step, whether out your front door or down the street, in the garden, or right next to you, there will always be something in a small form that no one in the universe has seen; it’s the idea of active looking that we all can do. Active looking is fun, stimulating, appreciative of the world around us, inspirational, and can make you feel alive. Art is more significant than we are. Art unites souls. My work constantly evolves as natural forms do in the elements as time passes. So I hardly ever feel I’ve “completed” a piece – they can keep changing as influences affect me. Bob Dylan said it well: “…the winds of changes shift.” (Forever Young)
4
My materials are natural or artificial - made to look natural. My pieces are often types of shelters, nests, and hives – all metaphors of life not knowing if the protection is safe or a threat – as is a wasp nest, bee hive, etc. Or they emphasize the movement of evolving as everything does. In the weaving process, threading or mashing, sawing, and pounding of materials, I like an insect create the form, so that also explains why size becomes very important to me. It is my shelter, my hive, my evolution that represents yours as well, which parallels how we as a society shape the evolution of our environment. We all have a big part in the creation of what happens. I love working and thinking not just about form but about the quality and excitement of texture. As a result, my materials are pretty varied as I love the experimentation – never really knowing if it will be successful, willing to try, and excited about the possibilities. So I move from wood to copper, glue to mica, threads to handmade papers, horsehair, dog fur, roots, seaweed, etc. Finally, my favorite materials are worked with the natural elements of rain, wind, snow, and ice, pulling parts outside for periods to meld with nature. So, in a sense, not only am I working with her but “playing“ with her. If I need a particularly shaped piece of wood, I’ll go into the woods to find it; it’s there; Nature and I “play” together. Or, I’ll walk in the woods and find something that is fantastic and inspires me in a direction. It’s my inning because it’s my life – my time up at bat to shape the environment for those I love, even though I know there is no guarantee. Once again, Nature and I “play” together. Being a sculptor obsessed with the form, shape, and texture of things and having them convey particular emotions, I believe that our importance as individuals is put into perspective when we see nature.
5
6
Awww…Those First Signs Of Spring bent and steamed wood leaves, bark paper, soil, branch 26 x 50 x 16.5 inch, $6,500. 7
8
Celebration bent wood, bamboo 46 x 36 x 42 inch, $4,500. 9
10
Escape roots, wood, glass, resin 8 x 7 x 12 inch, $1,000. 11
12
Fertile roots, gold mica, organics, resin 12 x 12 x 12 inch, $1,000. 13
14
Fragile roots, glass, resin 12 x 12 x 12 inch, $1,000. 15
16
Gold Secrets gold leaf, mica, organics, resin, dirt, roots 7 x 8 x 8 inch, $1,200. 17
18
Just Gotta Roll With It layers of planed wood, sycamore branch 29 x 43 x 15 inch, $8,500. 19
20
Learning From Flaco wood 62 x 35 x 8 inch, $1,200. 21
22
Mother Nature wood, bamboo 45 x 19 x 9 inch, $3,500. 23
24
Of The Earth handmade paper, stone, wood, soil, mica 18.5 x 31 x 5 inch, $8,500. 25
26
Rhapsody wood 62 x 35 x 8 inch, $1,200. 27
28
Spirit Unbound wood, bamboo, soil, resin 30 x 33 x 12 inch, $800. 29
30
Sucking Up The Smarts wood, wire, burl 44.4 x 36 x 24 inch, $15,000. 31
32
untitled stained mica, wooden leaves, cherry wood, 43 x 16 x 8 inch, $2,500. 33
34
Windswept wood bamboo 32.5 x 54 x 27.6 inch, $800. 35
36
Bamboo and Vine bamboo, vine 126 x 60 x 72 inches, $15,000. 37
38
Beginnings wood 36 x 27.6 x 24 inches, $15,000. 39
40
Breeze burl, bamboo, carved bent wood 20.4 x 18 inches, $800. 41
42
Femme Fatale wood 42 x 48 x 48 inches, $15,000. 43
44
Tear tree root 96 to180 x 18 x 18inches, $15,000. 45
46
Freeing The Mind dog fur, thread, handmade paper, sticks 72 x 36 x 32 inches, $15,000. 47
48
Gold Mica and Sticks gold mica, cherry wood 102 x 72 x 36 inches, $15,000. 49
50
Hive handmade paper 48 x 36 x 60 inches, $15,000. 51
52
Layers light and dark walnut, handmade paper 46 x 40x 40 inches, $15,000. 53
54
Learning From Flaco wood 62 x 35 x 8 inches, $1,200. 55
56
Moving On assorted thread, horse hair, bark paper 132 x 30 x 24 inches, $15,000. 57
58
No Body Knows The Effect Of Your Influence sticks, soil, resin 102 x 116 x 36 inches,$15,000. 59
60
Rain Forest Flirt horse hair, dog fur, assorted thread 84 x 78 x 30 inches, $15,000. 61
62
Yup, Got It Under Control wood, pottery fragments 48 x 24 x 6 inches, $600. 63
64
65
Silvermine Guild of Artists Silvermine has been a place for artists to gather since 1906 when visionary sculptor Solon Borglum moved to the area and held annual exhibitions in his studio. He created weekly artist-critiques called the Knockers Club. Formed in 1922, The Silvermine Guild of Artists was incorporated in 1924 as a not-for-profit to provide a permanent and supportive community of artists. Guild members represent artists that have a high level of accomplishment and are selected through a jurying process. Silvermine Guild of Artists has been a hub for some of the most talented artists in the Northeast. Guild membership has grown to almost 300 artist members nationwide, and has included such renowned artists as Abe Ajay, James Daugherty, Carlus Dyer, James Flora, James Grashow, Robert Kaupelis, Alice Neel, Gabor Peterdi, Charles Reiffel, James Rosenquist and honorary member Faith Ringgold. Since its inception, guild membership has been a selective peer jurying process. As a result, the guild has held its membership to high standards with many members having work represented in permanent collections of some of the world's most prestigious museums, as well as prominent private and corporate collections.
66
Silvermine Galleries Silvermine Galleries represents the Silvermine Guild of Artists. Our Galleries have exhibited art luminaries including Joseph Albers, Gabor Peterdi, Milton Avery, Elaine deKooning, Clement Greenberg, Alice Neel, Louise Nevelson, Larry Rivers, Christo and Jeanne-Claude, Faith Ringold, James Rosenquist, Chuck Close, Philip Johnson, and many others. The Galleries continue to expand on our heritage through compelling exhibitions of art by emerging and internationally recognized artists. A distinguished list of curators have juried many of our landmark exhibitions, among them are Dore Ashton, Milton Avery, Bill Carroll, Tom Eccles, Andre Emmerich, Jennifer Farrell, Henry Geldzahler, Patricia Hickson, Hilton Kramer, Beth McLaughlin, Barbara O’Brien, David Ross, Holly Solomon, Allan Stone, Ann Temkin, and Marcia Tucker. Our exhibitions are accompanied by programming that encourages appreciation of art and its role in society. Our layered approach is tailored to make our exhibitions meaningful, accessible, and enjoyable for diverse audiences of every age and background and always offer opportunities for visitors to connect with art, and each other through an exploration of ideas.
67
Board Of Trustees Co-Chairs Rose-Marie Fox Svetlin Tchakarov Vice Chair Barbara Linarducci* Secretary Mark Carta Treasurer Grace Tang Board Members Carlos Garrido Karl Heine William Hilson Michelle Loh Michael Maresca Guild Co-Chairs Roger Mudre* Jon Puzzuoli * Ex-Officio
68
Honorary Board Cynthia Guest Sally Sheehy Leonard Tow Diana Wege
S I LV E R M I N E GALLERIES
Gallery Staff Gallery Director Roger Mudre roger@silvermineart.org 203.966.9700 x226 Gallery Assistant Caitlyn Balmer sacgallery@silvermineart.org 203.966.9700 x220 Gallery Assistant Alan Gutierrez gallery2@silvermineart.org 203.966.9700 x228
69
Silvermine Silvermine Arts Center
1037 Silvermine Road New Canaan, CT 06840 www.silvermineart.org