Each sculpture is realized from a torso-imprint of a Yoga teacher.

When I cast the teachers, I ask them to enter a relaxed savasana and to allow the essence of their practice, most importantly their breath, to penetrate the plaster.

I wanted to catch breath, to pierce time. The surprise was to find distinct patterns on the skin's surface of every torso.

For example, observing the navel area of this Yogi: the direction of skin and hair growth movement is downwards, from the upper torso towards the navel, where all directions converge. Additionally, there’s a more energetic pattern coming into the center from the right than from the left.

The skin pattern surrounding the navel in this Yogini is different from the previous one: a soft upwards sweep from the hip bones and pelvic ridge moves up the center line of the front torso.

The torso skin patterns are like fingerprints.

Skin patterns can sweep from right to left, or visa versa; some bodies have scars visible only on the plaster body cast but not on the flesh. A few, but not all, reveal an upwards moving fountain pattern that connects navel to heart.

No sculpture had a head. The French sculptor Auguste Rodin, who when asked why his sculpture didn't have a head answered, "No need for a head. The head is everywhere."

The Yogi sculpture installation is an offering, an art antidote to violence, and an observation of breath.

A few of the yogi plaster casts are gently highlighted with ritual colors from India.Each

male and female sculpture, because of their nakedness, vulnerability, dignity and posturing, exposes energy and skin patterns that are visible on the sculpture surfaces.

Materials and presentation weave together ancient and modern, East and West.

A sophisticated grasp of Yoga relies on understanding the power and control of breath. The wide sternums and flexible ribcages, visible on the sculptures, reveal the physicality of breathing.

As an installation, the Yogi sculptures crisscross lifetimes, cultures, and generations

and transports gallery-goers towards a spiritual, perhaps meditative, experience.

I cast the frontal torsos of108 yoga teachers. I wanted to catch breath, to pierce time, by inviting breathe to leave a residue.

The casting process results in a pod. After the pod is completely dry, I fill it with several layers of plaster. The next day I lift the source sculpture from the pod by gently tapping around the edges of the pod.

The next step is releasing the plaster source from the pod. It’s very much like printmaking, lifting paper off the plate to discover what you caught.

When the sculpture source is free from the pod, I begin to see the shapes and edges that I’ll exaggerate and enhance.