Pelvis IV, 1992-1993, acrylic, ink, charcoal on paper, 50" x 38"
Pelvis I, 1992, acrylic, ink, charcoal on paper, 47" x 37"
Pelvis III, 1992, acrylic, ink, charcoal on paper, 50" x 38"
Pelvis VIII, 1997, acrylic, ink, charcoal, crayon on paper, 38" x 100"
Pelvis II, 1992, acrylic, charcoal, pen, oil stick, crayon on paper, 50" x 38"
Pelvis V, 1993, acrylic, charcoal, ink, colored pencil, gesso, oil pastel on paper, 50" x 38"
Pelvis Series Artist Statement
Beneath our varied colored skins that tend to separate and divide us resides a common denominator – the pelvis bone. Culture carves flesh into acceptable, sanitized sameness but our bones retain our mysterious uniqueness. Stripped of flesh and the possibility of self and public censorship, the pelvis bone acts as a stabilizer and reminder of the indestructibility of life for it is our bones eventually laid in the earth that carry the memories of life far into the future.
Many of the answers to life’s big questions are found when we let our bodies instinctually guide us rather than relying on our logical, calculating minds. Indeed, we ‘feel in our bones’. Turning forty, the need to question my life’s direction and belief systems reached a painful pitch. And as always my life was played out on the canvas like postcards from far away imaginary landscapes mailed off to family and friends.
By rendering the pelvis bone’s mountains and valleys I found myself falling into the negative space of the birth canal, journeying backward into a darkness that once seemed forbidding yet now beckoned. The bone gave me the courage to stand what I saw without turning away. At forty two I stepped onto the spiral of inward exploration.
Many of the answers to life’s big questions are found when we let our bodies instinctually guide us rather than relying on our logical, calculating minds. Indeed, we ‘feel in our bones’. Turning forty, the need to question my life’s direction and belief systems reached a painful pitch. And as always my life was played out on the canvas like postcards from far away imaginary landscapes mailed off to family and friends.
By rendering the pelvis bone’s mountains and valleys I found myself falling into the negative space of the birth canal, journeying backward into a darkness that once seemed forbidding yet now beckoned. The bone gave me the courage to stand what I saw without turning away. At forty two I stepped onto the spiral of inward exploration.
Sally Linder
1993
1993