FLORA AND FAUNA

Baobab		Tarantella

If Siglinda's work has a "signature" at all--William Rubin describes a "signature" style as "a trap into which artists can fall all too willingly"--it can be found in the feathery edges of a form such as Tarantella shown here, which seem stretched and thinned in their in-and-out turnings to the point of dissolving into the air around them. These fine edges, like spume thrown off by breaking waves, are there as early as the mid-1960's in pieces that announce a departure from functional ceramics as well as here in recent, purely sculptural work such as the Baobabs inspired by St. Exupery's Little Prince, a series completed in 1994. Indeed, their feathery twists and turns are so much a part of Siglinda that one can sometimes discover her in her studio working these forms as a kind of warm-up exercise before working on an altogether different kind of sculpture. It is Siglinda's way of participating in mother nature's busywork, the work that produces the petals on flowers and the shells of her sea creatures.

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