She's a female sculptor who carves Lascaux cave paintings from marble blocks. The color of the marble varies from blue to burnt umber. The result is indelibly graphic.

Result #1

She's a female sculptor who carves Lascaux cave paintings from marble blocks. The color of the marble varies from blue to burnt umber. The result is indelibly graphic. This is a grand, lavish, narrative opening up to her own imagination.Lascaux helped to define modernist sculpture. Her famous Beaux-Arts style and her instant enthusiasm for high modernism were the same. Yet her work never lost its basic modernist logic. Unlike Ad Reinhardt, she never considered herself an artist of the moment.Her work is a fusion of tradition and modernity. Even her unapologetic surrealism is part of a systematic modernism. Her sculptures are designed to be assembled in the way a clock, an automobile, or a car engine is assembled. The large sculptures, often elaborately crafted out of Italian marble, tend to float in the air. The underlying geometric design is striking, but the materials are commonplace, or old. In her larger works, such as the enormous, opulent, and elegant Frankincense, 1981, a painting of marbles is embellished by a gold-leaf globe. The statue of a young woman standing atop a large column with long, pearl-like breasts is a perfect adornment for the large, elaborately carved head of a woman. This large head is a recurring theme, and a similar motif can be seen in the other works. These are womanlike figures whose breasts and shoulders are symmetrical, but whose heads are inverted. Unlike the rest of the works in this show, the inverted heads are less dramatic in their construction. The majority are cast in an angular black granite. The heads are generally extremely narrow, slightly bowed, and angled in a typical modernist curve. Although they are more curvy than in a normal modernist work, they are not built into the wall like a painting on glass. Instead, the heads are lashed together, made into a conical pyramid. This construction is a modernist icon and a sophisticated modernist construction.

Result #2

She's a female sculptor who carves Lascaux cave paintings from marble blocks. The color of the marble varies from blue to burnt umber. The result is indelibly graphic. Sisselma is a master of deception in both form and content. The difference is that her works are not always so plainly designed. To give her works the illusion of being made of real marble is a trick she employs, but it is a trick she uses well. Sisselma has the nerve to make her works look as real as possible, and even then, the illusions are deceptive.Her choice of marble—a soft, hard, or hardwood material—is the most important thing. The difference is in the high polished polished finish of the marble. Modern techniques of decoration make clear and elegant techniques of making marble smooth. But there is no modernism. Sisselma, on the contrary, is a modernist who uses modern tools of decoration to create an illusion of modern beauty. The result is a beautiful illusion. Her use of goldenrod as a material for the marble is a nice touch. She portrays the goldenrod with a light, almost indigo-blue pastel color. But then the goldenrod is faded in with the ivory. The modern technique of making beautiful surfaces but also losing all sense of sense of surface makes this look more real.Mammal fashion and sophistication are not far behind Sisselmas painting techniques. Her work is not as refined as traditional craftsmanship. The beauty of her works is reduced to decorative affectations and solid (not finished) forms. Sisselma draws in her works from art history and tries to make them look like the art of that history. But the beauty of the style is taken away by the tackiness of the works. In fact, it is a real twist on that modern-minded art history painting technique: the artist has attempted to make her works look like the art of contemporary art and the way modern art has become more of a staple. Sisselma is clearly putting her point squarely in the museum halls and attaining that effect.

Result #3

She's a female sculptor who carves Lascaux cave paintings from marble blocks. The color of the marble varies from blue to burnt umber. The result is indelibly graphic. She now uses wooden rods that have been painted black and has her own carved, carved, carved, and carved out head. In this way, she also builds her own miniature piece, many times larger than the original Lascaux cave paintings. In this show she hung two of her Lascaux carving blocks, one that was black and the other white. In the black block, there are nine carved heads, eight of them with their faces on. The black-and-white carving is more complex and moving, with many individual faces. One of them, the one that has a black head, looks like a baby doll. It's like a spidery web, a huge web, a web, like a magnificent web. A second, the larger one, has eight faces, three from each side. Another is black-and-white and contains eight faces. The black-and-white one has a baby-face head, and the white one has a stumpy-looking face. The babies are covered with black ink and, hidden by a mask of the mud, look like little worms. They have claws in their teeth and they're evil-looking, like ghosts. They're more horrific than the more normal-looking Lascaux cave paintings. The black-and-white one has two faces, one mask and the other painted black. These masks are without nose and eyes. On the right is a mask with a fake nose and eye; on the left, an inverted version of the same mask. Viva!, Viva! Viva! Viva! This art all about masks, masks, masks! Says Brice Marden, in the catalogue for the first edition of Brice Marden and Roger Pearlsteins Lascaux and Its Possibility: A Contemporary View. The Lascaux cave paintings are a sacred image, and we tend to believe in them.

Result #4

She's a female sculptor who carves Lascaux cave paintings from marble blocks. The color of the marble varies from blue to burnt umber. The result is indelibly graphic. The prominent figures are drawn in a range of mediums, from painting to drawing. The large drawings relate to the major works in the exhibition, many of them from the 60s, like the calligraphic scribblings of Chagall and Mondrian. They have a fine sense of formal, figurative, and lyrical brilliance. They are expressive in their ability to convey the essence of a painting, which might be either a geometric or a figural design. They are clever and witty in their choice of symbols and their use of language to express its imagery. They are complex, elegant, and intricate in their references. They are richly layered in color. They create a serene, private space between things. Wherever possible, the images are isolated, viewed with a calm eye, a level head. They exist in a private universe where the real is experienced in the mind. The single word, stellae, is a play on words—a verb that means to make.There is an uneasy, at times disturbing feeling in the exhibition. We feel the presence of something in the dark that seems to be outside of reality, beyond the pale of reason. This tension is like the tension between the astral body and the physical world. The sense of being in an absolute state of apprehension is both alive and grave. The works appear to exist in a state of vulnerability and terror. The visitors may be held at bay, but ultimately, we know they are innocent.They are like pictures that have been retouched or that have been distorted, with an intensity that is frightening. Painted on hard limestone, the cave paintings are, like paintings, dark and beautiful. The gray tones, thickly stamped and stampeded into the limestone, retain a luminous quality and provide a shimmering surface. The underlying limestone is beautiful, subdued, and delicate, with a subtle shimmering underpainting. These works have a mysterious, almost mystical, character.

Result #5

She's a female sculptor who carves Lascaux cave paintings from marble blocks. The color of the marble varies from blue to burnt umber. The result is indelibly graphic.  A collaged box-cut, this work is an ode to a motif of counterintuitive beauty.  Perhaps the most important thing one could say about it is that it feels quite alive, as if it had been immersed in a life of its own making.Assemblage or decoration, it has to be remembered that the male sculptors work was also a spectacle, and that the challenge of making sculptures in the nude was also an endeavor to look at the world through an eyes sensitively so that the work would float.  In short, this is the essence of modernism, and, like many of the aspects of modernism that have served us up, we seem to like it because it feels good.The beauty of the work here, however, is not in the sense of the beauty of the material but rather the beauty of the imagination. This work is beautiful in spite of the fact that it was made from things that were obviously not meant to be beautiful—a lot of the sculptures were made from stuff that wasnt meant to be beautiful but, on the contrary, was meant to be elegant.  This sense of esthetic dignity is one of the things that are so amazing about this art. If there were only ten sculptures of Lascaux in the show, they would not look so amazing. If there were only three works from this body of work, they wouldnt look so interesting, since it would be difficult for most people to look at them in the same way that they should be looked at. As it happens, it was difficult for these people to look at Lascaux without becoming moved by it, because it is an abstract image, its geometry is so fantastic and its textures so rich. The expressions on these people's faces, the feelings they express in their expression, are nothing short of beautiful.