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

When I cast the teachers, I ask them to enter savasana, an asana of relaxation, and to allow the essence of their practice, their calmness, and most importantly their breath to penetrate into the plaster. I then transfer their atman, or essence, into the sculpture.

The intention is to use the breath of present-day practitioners to pierce time; to relate the present to the past via a practice. West and East intersect; materials and traditions connect.

Individually the sculptures pay homage to the classical statuary of ancient Greece, to the French sculptor Rodin, and to B.K.S. Iyengar.

Ancient Greeks made terracotta mold-cast figurines.The objects, called Tangara, delight in revealing the body, serve as a reminder of everyday life, and are often objects of worship.

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."

According to B.S.K. Iyengar, one of the world’s foremost yoga teachers: "In Yoga there

is an integration of body with mind, mind with the consciousness, and consciousness with intelligence itself.”

As an artist I was looking to archive the imprint of breath on the human body. What surprised me was finding distinct patterns on the skin's surface.

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 patterns are like fingerprints, each person's torso possesses a unique pattern. What might create the pattern on a body's surface...a particular physical practice? Genetics? Temperament? Posture? Age? Trauma? Happiness? The soul pushing up against the inside layer of skin?

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.

Realism and sensuality of skin deliver a particular, intimate vitality to the sculptures.

Edition of 15 (Three sold)

Edition of 15 (Five sold)