Dalit Tayar

Ive looked at Dalit Taylor as he uses plaster cast in his work, which I want to experiment with and engrave. As Taylor has done this I am going to use this inspiration to try and recreate my own work which in Plaster of Paris using other styles of inspiration from other artists as well.

http://www.artscenecal.com/ArticlesFile/Archive/Articles2003/Articles0703/DTayarA.html

“Untitled,” stoneware and porcelain, 15 x 5/12 x 5 7/8”. “Untitled,” stoneware and porce- lain, 20 1/8 x 13 3/8 x 10 1/4”. “Untitled,” stoneware and porce- lain, 14 1/8 x 20 7/8 x 5 7/8”. “Untitled,” stoneware and porce- lain, 16 1/8 x 16 1/8 x 8 5/8"”.

Existentially-minded artists impart a fresh glimpse into the nature of the human condition, each from their own personal experience. In About Being Human Dalit Tayar excavates, with the help of scuptural media, the kernel of her unique essence--being Israeli, an American, and a woman. The art provokes us to contemplate the self--that sequestered human soul, hidden beneath thick social, psychological, educational, and religious layers. With great sensitivity, Tayar models three-dimensional figures cocooned in hidden architectural spaces, peering out from a crack or breaking out of a solid wall. A singular sheltered being suggests an eternal duality: the need for protection from the outer world and a cautious desire to emerge into it. Duality is also present in the materials Tayar chooses. Figures are carved from fragile porcelain, but are surrounded by hefty and indestructible stoneware slabs. A head, a full adult nude or a baby are contained in the stone masses, giving the carefully selected breaths of air between materials greater relevance. At times the enclosure resembles a coffin, a shallow pool, a closet, a break in a wall, a slice of a pyramid; in each case there is just enough room for the figure to gaze out, as light and shadows cast earth-tones, like dimensional poetry, on the enigmatic being. The structures are solid and formal, fashioned in one piece or created in stages. A head is carved and fired and then placed within a solid chamber to become one with the total structure. Inevitably, this form of partial burial adds to the mystery, the compelling energy of the art, as we cannot see the whole and must imagine what is missing.