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Daniel William Zampino

Artist :: Sculptor :: Writer

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ORPHEUS AND EURYDICE — ORPHEUS AND EURYDICE :: Orpheus and Eurydice were lovers. Orpheus was the greatest of musicians. Eurydice had been summoned by the Angel of Death. Her time as a living creature had come to an end. Orpheus, through his music, salvaged his lover. She would get to celebrate life for yet another sound. Height 14 ¾ in. x 19 in. approx. Photo: Ulrike Welsch

DAY THE WORLD CHANGED — DAY THE WORLD CHANGED :: On an unknown island, three ships, sailing from Europe, spotted several unknown inhabitants. It was a startling moment. No one could ever know who the inhabitants were, and what they were thinking. History would record Columbus’ contact, and the ‘old world’ was forever shattered. Height 13 ½ in. x 19 ¼ in. approx. PHOTO: Ulrike Welsch

RICH MAN, POOR MAN — RICH MAN, POOR MAN :: A story as old as man - of a man in a rush, on his way to a business meeting, stepping over a homeless man, in order to get to where he is going. The homeless man's Eucharistic pose, chalice in hand, earns the ambitious man's indifference. This sculpture is optioned to become the book-cover of a book that is a memoir of one homeless man's memory and experience. Height 19 in. x 13 in. approx. Photo: Ulrike Welsch

THE BLUES SINGER (close-up) — THE BLUES SINGER (close-up) :: Up close to the vocal intensity of a singer, whose stirring passions, whose pain, permeates the stone. Height 19 in. x 14 in. approx. PHOTO: Ulrike Welsch

EAST OF EDEN — EAST OF EDEN :: And the Lord God said, Behold, the man is become as one of us, to know good and evil; and now, lest he put forth his hand, and take also of the tree of life, and eat, and live forever: Therefore the Lord God sent him forth from the Garden of Eden, to till the ground from whence he was taken. So he drove out the man; and he placed at the east of the garden of Eden Cherubim, and a flaming sword which turned every way, to keep the way of the tree of life. (Genesis, Chapter 3, verses 22-24.) Height 18 in. x 17 in. approx. PHOTO: Ulrike Welsch

EGYPTIAN DANCERS — EGYPTIAN DANCERS :: Inspired by dancers whose images are inscribed on Egyptian tombs, entertaining the Pharaoh(s) in their effervescent afterlives. Height 19 in. x 10 1/2 in. approx.. PHOTO: Ulrike Welsch

JACOB'S LADDER — JACOB'S LADDER :: From Gen. 28:10 “and Jacob went out from Beer-sheba, and went toward Haran. And he lighted upon a certain place, and tarried there all night, because the sun was set; and he took of the stones of that place, and put them for his pillows, and lay down in that place to sleep. And he dreamed, and behold a ladder set up on the earth, and the top of it reached to heaven: and behold the angels of God ascending and descending - " the ladder, the pillow, and he who wrestles with angels, harnessed in one image. Height 17 ½ in. x 19 in. approx. Photo: Ulrike Welsch

NARCISSUS AND ECHO — NARCISSUS AND ECHO :: Narcissus and Echo had been lovers. Yet Echo attracted the fancy of Zeus. Hera, Zeus' jealous wife, put a curse on Echo. Hence, she’d repeat only the words others had spoken to her. Her lover, Narcissus, fell in love with his image in a pond. He, in love with himself, and she, deprived of self-initiated speech-making, ended their lovers’ days lost in fits of unrequited misery. Height 16 ¾ in. x 19 ½ in. approx. Photo: Ulrike Welsch

LOVERS’ EMBRACE — LOVER’S EMBRACE Lover’s moment, in thin flagstone, a flagstone retrieved from an old university building facing. Height approximately 18 ½” x 11 ½”. Photo: Angela Masciale

NEBUCHADNEZZAR’S DREAM — NEBUCHADNEZZAR’S DREAM :: To the king of Babylon, “They shall drive (Nebuchanezzar) from men, and their dwelling shall be with the beasts of the field, and they shall make thee to eat grass as oxen, and they shall wet thee with the dew of heaven.” (Daniel, Chapter 4, verse 25.) The fear of every man of power was to be stripped naked, left to fend alongside animals. Height 15 in. x 17 ½ in. approx. Photo: Ulrike Welsch

REFUGEE WOMEN — REFUGEE WOMEN :: The unspeakable victims of war this work was inspired by the horrific televised images flowing from war zones inside Europe and Africa. Height 13 in. x 18 ½ in. approx. Photo: Ulrike Welsch

STYX — STYX :: Rustling up a soul of the dead to take across Styx, River of the Dead, Charon the Ferryman inspires the anguish of old souls looking on. The artist’s near death experience inspired this sculptural interlude. In a private collection. Height 18 in. x 13 in. approx. Photo: Ulrike Welsch

ODYSSEUS AND HIS SIRENS — ODYSSEUS AND HIS SIRENS :: Circe, in Book XII of the Odyssey, says: “There is no homecoming for the man who draws near the {Sirens} unawares and hears the Sirens’ voices; no welcome from his wife, no little children brightening at their father’s return. For with the music of their song the Sirens cast their spell upon him, as they sit there in a meadow piled high with the moldering skeletons of men, whose withered skin still hangs upon their bones.” Height 18 in. x 12 in. approx. Photo: Ulrike Welsch

GONZOLO GUERRERO — GONZOLO GUERRERO :: Bernal Diaz: In the year 1511 Gonzalo Guerrero and his partner, Aguilar, were shipwrecked of the coast of the Yucatan, and captured by Mayans. Their compatriots were all killed. Aguilar and Guerrero both escaped. Aguilar returned to Spain, entered the priesthood, and became a Conquistador. Guerrero remained with his captives, married a Mayan woman, and died 25 years later, defending the Indians from the Spanish. As father of a Spanish/Mayan child, Mexicans praise him as the father of the Raza Mestizos. Height 19 in. x 14 in. approx. PHOTO: Ulrike Welsch

TYRANNY OF THE MIRROR — TYRANNY OF THE MIRROR :: A mocking glance of the woman in the mirror, lording over a woman’s vulnerable body image. Height 19 in. x 14 in. approx. Photo: Ulrike Welsch

INKA GENERAL CALICUCHIMA BURNED AT STAKE — INKA GENERAL CALICUCHIMA BURNED AT STAKE :: “Father Velarde accompanied the Peruvian chieftain to the stake. . .but his arguments fell on a stony heart. In the midst of his tortures, Calicuchima showed the characteristic courage of the American Indian. . .and he died with his last breath invoking the name of Pachacamac.” - from William Prescott's classic, THE CONQUEST OF PERU. Height 19 ¾ in. x 13 ¾ in. approx. Photo: Ulrike Welsch

CARMEN THE VOLUPTUARY — CARMEN THE VOLUPTUARY :: The seduction of the dance. Height 19 ½ in. x 24 in. approx. PHOTO: Ulrike Welsch

GESTURE OF A FAMILY — GESTURE OF A FAMILY :: Father, mother, child in a private moment of parental doting. In a private collection. Height 17 in. x 12 in. approx. PHOTO: Ulrike Welsch

BLUES SINGER WITH GUITAR — BLUES SINGER :: Inspired by Robert Johnson, whose recordings are part of urban legend - the man's life was more fancy and mythology, excepting that his music changed the course of history. Rendition of the pose of Robert Johnson, the blues musician extraordinaire, that the artist saw on an old vinyl album decades ago – all from a recording session that almost never happened, from which musicians the world over have been influenced. Height 14 in. x 18 in. approx. PHOTO: Ulrike Welsch

SAXOPHONIST — SAXOPHONIST :: The stunning sound of a musicality that could be heard through the stone, as if it was embedded, until the artist chose to unleash it. Height 19 in x 12 in approx. Photo: Ulrike Welsch

DARK DANCE — DARK DANCE :: Dance! Dance! Dance! Celestial swirl like butter. Kiss the heavens again. Reach for the tree of living, dare clutch the thorny branch, blood soaked scream, augmented twirl, succulent taste of violent knowledge. Height 19 in. x 13 in. approx. PHOTO: Ulrike Welsch

DIA DE LA MUERTA — DIA DE LA MUERTA :: When I die, I want to hear a jazz band, trombones that slide across a sheeny dance floor, like the dance floor I’d imagine in heaven. Tubas thunder across eons long enough for a screeching trumpet, like the brakes of a car, to run me off the road! Excerpts from a poem by the artist, celebrating the wonders of death and life. Height 18 in. x12 in. approx. PHOTO: Ulrike Welsch

DANCER — DANCER :: In her stony movements, she is free to fly, dancing across the staged horizon. Height 19 in. x 13 in. approx. PHOTO: Ulrike Welsch

TREADING — TREADING :: Inspired by a dance performance of the A. Ailey Dance Troupe, male and female dancers fluidly entangle without ever touching; a defiance of gravity. Height 17 ¾ in. x 19 in. approx. Photo: Ulrike Welsch

JAZZ MUSICIANS AND A DANCER — JAZZ MUSICIANS AND A DANCER :: Dedicated to the memory of Charles Mingus, this is a visual rendition of the fusion of sound that is, in its essence, jazz. How else can one respond but to dance? Height 20 in. x 11 ½ in. approx. Photo: Ulrike Welsch

ANCIENT MUSICIANS — ANCIENT MUSICIANS :: This sculpture is dedicated to John Lennon, who was killed as this work of archaic musicians came to life. Height 18 in. x 18 in. approx. PHOTO: Ulrike Welsch

POWER IN ITS PURE FORM — POWER IN ITS PURE FORM :: Here is the abuse of the awesome powers that reside even in the best of the professional police. Necessity of police work is obvious, but brutality is tyranny: I had a dream: of police in their mastery: posted sentries at its head lights and tail, like onerous statues. Romanesque grotesque. Gargoyle gringo faces, behind flinching pitiless panes of sheeny spectacles.Thug police. Height 20 in. x 15 in. approx. Photo: Ulrike Welsch

MAN AND WOMAN DANCING — MAN AND WOMAN DANCING :: Dancers entwined is a tango jest, where the two become one. Height 19 ½ in. x 12 ½ in. approx. Photo: Ulrike Welsch

FOUR DANCERS — FOUR DANCERS :: The magic of dance, in its movement and its stillness. Height 15 in. x 19 in. approx. PHOTO: Ulrike Welsch

EZEKIEL'S VISION — EZEKIEL'S VISION :: Appearance of the bow in the cloud in the day of rain. Appearance of the likeness of the glory of the Lord. And when I saw it, I fell upon my face, and I heard a voice of one that spake. (Ezekiel, Chapter 1, verse 28.) Height 11 in. x 21 in. approx. PHOTO: Ulrike Welsch

OUR SHATTERED WORLD MUST FLY ITS FLAG — OUR SHATTERED WORLD MUST FLY ITS FLAG :: Middle Eastern man, American Indian, Lady Liberty must prop up world flag as it had been assailed at the World Trade Center. Forever assailed as a flag whenever mankind succumbs to fear, and forswears freedom. Height 19 ½ in. x 13 ¼ in. approx. Photo: Ulrike Welsch

SELF LOVE — SELF LOVE :: Her arms caress her own gentleness, in a semblance of her embryonic moment. Gathering the power of her womanly self, she exhibits joy, first to herself, then to the world. This is the origin of her feminine power. Currently on display at private gallery. Height 18 in. x 15 in. approx Photo: Ulrike Welsch

EARTH MOTHER — EARTH MOTHER :: Suggestive of Joseph Campbell and his descriptions of "earth mother" statue/fragments supposed to have been created in honor of a fertility mother Deities worshiped by unknown ancestors in the caves surrounding Lausaux, in the south of France thousands of years ago. Height 17 in. x 20 in. approx. PHOTO: Ulrike Welsch

MAN ACCEPTING HELP FROM A WOMAN — MAN ACCEPTING HELP FROM A WOMAN :: A humbling and joyous and total embrace. Height 20 in. x 16 in. approx. Photo: Ulrike Welsch

KISS THE STONE EARTH — KISS THE STONE EARTH :: Alyosha Karamazov’s vault in heavens a reminder of the inherited benevolence of living in Creation, no matter what demons are unleashed to obstruct our pursuit of harmony. Height 19 ½ in. x 14 in. approx. Photo: Ulrike Welsch

HOPI PROPHECY — HOPI PROPHECY :: Hopi priests warned President Nixon: “When dust falls from sky (nuclear ‘dust’), this Creation at its end.” We may, as some Hopi predict, be nearing the end of the Fourth Creation. Height 14 in. x 20 in. approx. PHOTO: Ulrike Welsch

HOPI PROPHECY, THE MUSHROOM — HOPI PROPHECY, THE MUSHROOM :: The mushroom at Los Alamos that belies the alpha and the omega of existence. Height 14 in. x 20 in. approx. PHOTO: Ulrike Welsch

ORACLE AT ATHENS — ORACLE AT ATHENS :: Stone cold alley, Where we heard Poetic Byron, Charley Chaplin hat, Half-ripped sports jacket, Bottleneck blues on a bouzouki, Hydra-headed bouzouki, Delta of the Peloponese - from artist's poem celebrating the wonders of modern-day Athens, as juxtaposed with ancient Crete-Creta images. Height 18 in. x 15 in. approx. Photo: Ulrike Welsch

PAKAL’S TOMB — PAKAL’S TOMB :: Pakal was the greatest known king of Palenque, the city of legend in northern Chiapas. Pakal died in 684, and was buried in the Temple of the Inscriptions. He was buried at the base of the Temple, seventy-nine steps down.Currently on display in private gallery. Height 20 in. x 12 in. approx. Photo: Ulrike Welsch

MASTERFUL DEFACER — MASTERFUL DEFACER :: Seeing the scratch marks marring the Alexander temples, remnants of Pharaoh-Egypt, I soon learned the source of their defacing: a fourth century religious fanatic, Bishop Theophilus, who, acting on the new decrees issued by Emperor Theodosius, had imposed the ruthless reign of Christian righteousness upon the Egyptian masses - by scratching out the ancient ‘graven’ remnants of timeless Egyptian deification and honor. This stone sculpture simulates the beauty and the defacement of the gods. Height 22 in. x 12 ½ in. approx. Photo: Ulrike Welsch

HATSHEPSUT — HATSHEPSUT :: Wife of Thutmose, whose early death left her as the guardian-mother of the three-year old Pharaoh, also named Thutmose. History teaches that she seized Pharaoh’s throne, dresses like a man, and thereby became the only woman Pharaoh known to posterity. What followed was a twenty year reign of peace. In 1997 Egyptian Jihad, in an act of religious hysteria, slew sixty tourists on the very spot, honoring Hatshepsut, where I stood three years later. Height 19 in. x 17 in. approx. PHOTO: Ulrike Welsch

REQUIEM FOR THE EARTH — REQUIEM FOR THE EARTH :: President Truman ordered a test of the bomb. On July 16, 1945, J.R. Oppenheimer and his colleagues took post on what had been Pueblo Indian land a hundred miles south of Los Alamos, to witness the detonation. The bomb blast was successful. Here was a moment unprecedented. Oppenheimer quoted from the arrival of Khrishna-Shiva descending to the world as its destroyer, in the Bhagavad Gita. The bomb, an apocalyptical weapon, was a Destroyer of Worlds. We are Destroyers of Worlds, Oppenheimer whispered, mostly to himself. Height 22 ½ in. x 22 ½ in. approx. Photo: Ulrike Welsch

REQUIEM FOR THE EARTH - THE AWFUL MUSHROOM — REQUIEM FOR THE EARTH - THE AWFUL MUSHROOM :: The awful mushroom - a Last Judgment. Height 22 ½ in. x 22 ½ in. approx. Photo: Ulrike Welsch

INKA - Intihuatana — INKA - Intihuatana :: Hitchingpost to the Sun. The Inka's most solemn stone construct, it was juxtaposed to the alignment of the Sun. The Sun, in turn, was linked to the power of the Person of the Inka, who had been allied to the sustenance of all life. Height 20 in. x 20 in. approx. Photo: Ulrike Welsch

MAGDALENA — MAGDALENA :: Legends of the Holy Whore, Magdalena, consort of the Christ. Peter in the Gospel of Peter queried why Jesus kisses Magdalena on her lips. Magdalena sees Jesus in His spirit form, before anyone else, as an ordinary attendant. What did she, stern beloved, know about Him that no one else did? Height 20 in. x 13 ½ in. approx. Photo: Ulrike Welsch

ABRAHAM AND ISAAC — ABRAHAM AND ISAAC :: When the Lord Came to Abraham and Said ‘Give me your son,’ the Obedient Servant, and Father to the Patriarchs was willing to bind his son, and unsheathe his knife. Height 21 ½ in. x 13 in. approx. PHOTO: Ulrike Welsch

APSARA SOLO — APSARA SOLO Traditional Cambodian Dancer, who dances in silence for she is in heaven. Height 17 in. x 13 in. approx. Photo: Angela Masciale

APSARAS — APSARAS Carved into the temples that make up, among others, the great Cambodian complexes of Angkor Wat and Angkor Thom, Apsara reliefs are always shown at the higher levels of the temples, as if their poses are emanations from heaven. In ritualized décor, ancient or classical dancers did their dances in metaphysical silence. Their legacy is now center stage for much of what is considered folk art. Height 21 in. x 13 in. approx. Photo: Angela Masciale

BRIDGE — BRIDGE :: Young woman’s yogic stretch. Height 9 ½ in. x 18 ½ in. approx. PHOTO: Ulrike Welsch

CELESTIAL WOMAN — CELESTIAL WOMAN :: She stares down the stars in her pose and celebration. Height 21 ½ in. x 11 ¼ in. approx. PHOTO: Ulrike Welsch

CIRCLE OF LIFE — CIRCLE OF LIFE Based on Mexican motifs, of a man and woman intertwined, being pursued by an afterlife of faces of men and women and skulls. Height 14 in. x 20 in. approx. Photo: Angela Masciale

DEFOLIATION — DEFOLIATION During the war years in Vietnam, the American government fomented a policy of defoliating the jungle-based countryside, where much of the resistance lay. By intent or inadvertence, the dioxin gel used to defoliate the ‘skin’ of the forest also penetrated, and burned away the epidermal layering of human tissue, for those whose misfortune had placed them in vicinity of these nefarious attacks. Height 19 in. x 13 in. approx. Photo: Angela Masciale

DRAGON SLAYER — DRAGON SLAYER :: Story of Saint George slaying the dragon that threatens his medieval harmony. Height 14 in. x 19 ½ in. approx. PHOTO: Ulrike Welsch

DREAMER'S JUDGMENT — DREAMER'S JUDGMENT :: In the journey we must all take, the mysteries of each of us face are laid out for the man to ponder in his night – of angels and demons and enticements and dreads; all the while a path toward wisdom – the kind of wisdom we rarely see during our waking hours. Height 15 ¼ in. x 20 in. approx. PHOTO: Ulrike Welsch

ENTANGLEMENT — ENTANGLEMENT :: Two bodies symmetrically twined around one another. Height 12 ½ in. x 19 ¾ in. approx. PHOTO: Ulrike Welsch

FOURTH HORSEMAN CLAIMS HIS DEAD — FOURTH HORSEMAN CLAIMS HIS DEAD :: The Fourth Horseman of the Apocalypse, pale as death, is dispatched to gather up fallen soldiers – his cloak disguises a figure as pale as death. Height 14 ¾ in. x 19 in. approx. PHOTO: Ulrike Welsch

GANDHI — GANDHI :: In his classic pose, with his rimmed eye-spectacles, he who brought down an Empire with a walking stick. The stone is red slate, carved as a relief. Gandhi’s image and gesture are self-explanatory. Height 22 in. x 14 in. approx. PHOTO: Ulrike Welsch

HATHOR — HATHOR :: Woman wrapped in cloth, resembling the Pharaonic goddess, Hathor, in the gesture of celebrating life. Height 15 ½ in. x 18 in. approx. PHOTO: Ulrike Welsch

HORN PLAYER DURING KATRINA — HORN PLAYER DURING KATRINA :: As the rains pelted the harbor, and the floods from the fallen levies flooded the city, one man was fierce enough to embrace the spirit of the people, showing that once again the City of New Orleans would never surrender. Height 19 in. x 13 ¾ in. approx. PHOTO: Ulrike Welsch

INFERNO CANTO I - CIRCLE OF HONORABLE UNREDEEMED — INFERNO CANTO I - CIRCLE OF HONORABLE UNREDEEMED :: Lost in the woods, Dante meets Virgil. ‘Are you a spirit or a real man? Virgil answers, You must take another roadway. Of Fiorenza. Her nature has become vicious and malignant that her greedy appetite is never satisfied, and after eating, she is hungrier than before.’ Sullen Dante & wise Virgil - He orders Dante to face the consequences of his fear. Summoned by Beatrice, Luccia, and the Virgin, moved to pity; Virgil takes Dante on a journey into eternity. Good Friday Evening. LASCIA TE OGNI SPERANZA, VOI CH' ENTRA TIE - Foreswear all hope, those who enter here. Miniature Charon winnows living from dead. Sculpted spirits in the lower left signify beginning of great descent. Virgil speaks of honorable unredeemed. The philosophers and warriors of old who represent enlightenment. The intellectual sun shrinks alongside marvels of the manifest Commedia. Intellectual mastery, with disputations, confined to a diminished corner. Height 12 in. x 22 in. approx. PHOTO: Ulrike Welsch

INFERNO CANTO II - CIRCLE OF THE ADULTEROUS — INFERNO CANTO II - CIRCLE OF THE ADULTEROUS :: Dante: 'I came to a place where all light was mute and where was bellowing as of a sea in tempest that is beaten by conflicting winds. The hellish storm, never resting, seizes and drives the spirits before it. Francesca da Rimini: Love, which absolves no one beloved from loving, seized me so strongly with the charm that, as thou seest, it does not leave me yet. Love brought us to our death.' Francesca da Polenta of Ravena had been married to Giovanni Malatesta, crippled son of the Lord of Rimini. He and she shared a girl, nine years old. Her lover, Paulo, handsome and gallant, Giovanni's married younger brother, had two young children of his own. As Francesca rendered her account, Giovanni came upon Francesca and Paolo in one of their lewd interludes, and murdered them. Height 16 in. x 20 ½ in. approx. PHOTO: Ulrike Welsch

INFERNO CANTO III - CIRCLE OF GLUTTONS — INFERNO CANTO III - CIRCLE OF GLUTTONS :: Cerberus, the three headed dog, torments and taunts all who enter, as is testament to the incontinent sin of gluttony. Abject sinners, the gluttons suffer an interminable pummeling by a reckless obnoxious elements — from pungent odors to harsh weather, to the barking of the three-headed demon. A spirit sits up from his tomb. His body is weighted with rills of flesh. ‘The citizens called me Ciacco).’ Dante does not know him. Height 14 in. x 20 in. approx. PHOTO: Ulrike Welsch

INFERNO CANTO IV - CIRCLE OF AMBITIOUS AND AVARACIOUS — INFERNO CANTO IV - CIRCLE OF AMBITIOUS AND AVARACIOUS :: Plutus, the accursed wolf, holds a money bag. Ambitious men clash, chest to chest, as they roll weights that, like cylinders, roll back again. And again. With gloom, they taunt each other. The shouter on the right cries, "Perche Ilene?" (Why hold onto?) The shouter on the left yells, "Perche burli?" (Why squander?) The shouter on the right is a builder. He exploit the resources of Florentine civilization to concoct towers reaching to the heavens. All human life is reduced to an obsessive quest for order — a quest that champions itself as productive, contrasted with the cleric's enterprise, which is claimed as stingy, backward, and parsimonious. Aroused to pity, Fortuna (fortune) hovers at the right. Divine representative of the pursuit of every man to enjoy a prosperous life, she laments. Goddess of prosperity, spires of ambition and avarice Impoverished truth-telling reduce her gifts to a dizzying dance of foul competition. Height 10. in x 18 in. approx. Photo: Ulrike Welsch

INFERNO CANTO V - CIRCLE OF RAGE — INFERNO CANTO V - CIRCLE OF RAGE :: Brief stay in this circle, adjacent to Styx, where dwellers, swilling in the veneer of their own sweat, know nothing but violence. Strong and anonymous, they strike and strike at each other, tearing themselves apart for eternity. Height 19 ¾ in. x 21 ¼ in. approx. Photo: Ulrike Welsch

INFERNO CANTO VI - CIRCLE OF NON-BELIEVERS — INFERNO CANTO VI - CIRCLE OF NON-BELIEVERS :: The two sojourners see three hellish furies with blood tinted faces, and snakes for hair, who pummel and torment themselves, in acts of self-infliction. Megera, Aletto, and Tesifone, so-named, with nails each was scratching her breasts. The tomb sites are open, where spirits of men sit and stand and waft by anonymously. Calvacante, a poet, a Guelf, and a professed follower of Epicurus, sits first in his tomb, then props himself up onto his knees. Farinata faces Dante. His brows are crested, in a manner consistent with Florentine self-importance. With his gaunt face, he stares at Dante. He is an avowed materialist. He believes that his soul dies when his body dies. Height 14 in. x 20 in. approx. Photo: Ulrike Welsch

INFERNO CANTO VII - CIRCLE OF TRANSGRESSORS — INFERNO CANTO VII - CIRCLE OF TRANSGRESSORS :: Circle of those willful in violence, circumspect in confession. Minotaur, offspring of an unholy affair between Queen Parisphe, bored wife of King Minos, and a bull, casts a bulky shadow. Tyrants end up here. A suicide severs his body from his spirit—his spirit, ejected, finds accidental refuge in a stone or a tree. Dante spots a former teacher, who recognizes him. Brunetto Latini - judged for a commonplace crime in universities of thirteenth century Florence. A crime, Virgil says, to remain unnamed. Dante observes three Florentine men. With constant movement to appease pain caused by widespread infernal fire, they greet each other, naked, bodies sweaty and oiled, greet each other like championed athletes. The man in the middle speaks. Each stands guilty of an unspoken crime. The heat of surly passion leaves them bald, naked, scalded. A breach is laid out. Virgil warns Dante that the descent will be violent and treacherous. Height 15 ½ in. x 22 in. approx. Photo: Ulrike Welsch

INFERNO CANTO VIII - CIRCLE OF FRAUDULENT — INFERNO CANTO VIII- CIRCLE OF FRAUDULENT :: Odysseus is a renown sailor and warrior, but he occupies a small grotto in this most complex of Circles. He is wrapped in the passion of his own flames, which emanate from his mouth. Hehad been a deceiver of high regard. He had devised the old War Horse that, using his mental acumen, induced unwary. He invokes honor, but expedites false claims. ‘When I parted from Circe, who held me for more than a year near Gaeta), neither the sweetness of a son, nor the piety for an old father, nor the debt I owed loving and loyal Penelope, could conquer the passion I had for experience in the vices and the virtues of men. Odysseus possesses passion, to be sure, but could he be truthful about anything he believes in? Circe, at his back, is the passion of his dreams. His shrunken wife, Penelope, behind Dante, suffers the interminable fate of a forgotten spouse. Height 15 in. x 22 in. approx. Photo: Ulrike Welsch

INFERNO CANTO IX - CIRCLE OF THE DESOLATE — INFERNO CANTO IX - CIRCLE OF THE DESOLATE :: In lower rungs, sinners are assaulted via the whip. Schismatics, dividers of men from Truth, are divided. In the center is Ugolino, Pisan Count. Archbishop executes his children, and he watches. ‘I did not cry, but inside I turned to stone.' Ugolino embraces hate. A wall rings the Ninno Cerchio (Ninth Circle). Here are giants, dumb gods of nature. Ice lake predicts Dis, Satan's unholy realm. Coldness. Lucifer, the Fallen One has three faces, each a different expression, a trinity in parody. The right face has a tear, reminding Lucifer of his once being exalted. A sinner languishes near the hideous three faces, to be eaten. Nearby, sullen Judas is at the giant's feet, clinging to his payment. Brutus, a petty knife, is in despair. Deaths of Christ and Caesar, Civilization's forebears, underscore twin damnation of betrayers. Up the craggy surface Dante, clinging to Virgil’s shoulder, climbs from the depths of the Inferno. Height 15 ½ in. x 19 ¾ in. approx. Photo: Ulrike Welsch

IX CHEL — IX CHEL The island off the coast of what is now Yucatan, where is discovered the numerous female figurines in what was believed to be a women’s sanctuary – an arena for Maya goddesses to excel, and celebrate their practices, namely of healing and fertility. So named the ‘Island of Women,’ or (in Spanish) Isla Mujeres, where its reigning deity is here depicted in red stone as Ix Chel. Height 19 in. x 13 in. approx. Photo: Angela Masciale

JERUSALEM MUSICIAN — JERUSALEM MUSICIAN Clarinet playing on Jaffa Street, a festive street in Jerusalem a short distance from the old city, enthralled were those who stopped to imbibe in his musical magic. Height 20 in. x 14 in. approx. Photo: Angela Masciale

JOURNEY THROUGH A VALLEY AT DAWN — JOURNEY THROUGH A VALLEY AT DAWN :: Someday the prince will take his maiden through a distant valley, into that unknown wilderness. Height 14 in. x 20 in. approx. Photo: Ulrike Welsch

JUDGMENT OF MAN (EGYPTIAN BOOK OF THE DEAD) — JUDGMENT OF MAN The story begins with a conflict or brotherly rivalry between Seth, the hunter, himself holding a dagger, and Osiris, the farmer, having been slain by Seth. Motive for the slaying is said to be jealousy. Seth cuts Osiris into fourteen pieces, strewn along the banks of the Nile. Isis, retrieving thirteen pieces, reassembles Osiris, corpse-like. The fourteenth, the phallus, Seth has fed to a crocodile. Isis copulates with corpse-like Osiris, conceiving Horus, the falcon-faced. Horus is to avenge his father’s death. Anubis the jackal, lord of the underworld, allies to Osiris, now in his post-mortem state, as the Judge of the Living and the Dead. In executing his judgment, a heart is balanced on a sacred scale, hoisted by Anubis and Osiris. A heart lighter than a feather is bound for heaven. If the heart sinks the scales, darkness shall stalk the soul for eternity. Height 22 in. x 14 in. approx. Photo: Angela Masciale

KHAJURAHO LOVERS — KHAJURAHO LOVERS :: A dreamy red relief of two lovers in a somewhat convoluted pose, with the petite woman seeming to hold the man aloft. This stone relief was inspired by the sensuousness of the works at the temple complex. Inspired by the wondrous temples in central India that were sometimes devout, sometimes erotic, and as here, sometimes exquisitely romantic. Height 20 in. x 13 in. approx. Photo: Ulrike Welsch

LADY CHAC MOL — LADY CHAC MOL Woman in pose in a sideways stretch, hands over knees – posing like the Mayan statues of figurines, their faces over their shoulders, known as Chac Mols. Height 19 ¾ in. x 13 ¾ in. approx. Photo: Ulrike Welsch

LADY IN REDSTONE — LADY IN REDSTONE :: Redstone is difficult to carve, exquisite in its texture - but it does this luxuriant muscular lady a grand, aesthetic service by accentuating her strong, feminine features. Height 11 in. x 20 in. approx. Photo: Ulrike Welsch

LAMENTATION — LAMENTATION :: A family’s woes encased in a simple composition – days of gnashing of teeth. Height 19 ¾ in. x 13 ¼ in. approx. Photo: Ulrike Welsch

MAHADEVI VARMA — MAHADEVI VARMA :: The great Hindi poet in her younger years. Height 17 ½ in. x 10 in. approx. Photo: Ulrike Welsch

MAN PURSUES MERMAID — MAN PURSUES MERMAID :: A lecherous grab by a man of his mythical lover. Height 11 ½ in. x 16 ½ in. approx. Photo: Ulrike Welsch

PAGAN WOMAN MEETS CHRISTIAN VANQUISHER — PAGAN WOMAN MEETS CHRISTIAN VANQUISHER :: Until Theodosius, Constantine’s successor, most of the people of the waning days of the Empire may have had embraced the Crucifixion, but the elite were recalcitrant, and refused to buckle. Until the hand of the Emperor, mercy had crushed them. Official state sacrifices had been ruthlessly erased. The end of the pagan-era, with its sensuousness, was about the shunted into darkness. Hence the inverted tree, the tree honoring ‘natural’ life, as it is grasped, in a suggestive or phallic gesture, contracted with the omnipresence of the Christian cross, quietly having been transformed into a ‘new’ master’s stern weapon. Height 19 in. x 13 in. approx. Photo: Ulrike Welsch

POOR MAN IN HEAVEN RICH MAN IN HELL — POOR MAN IN HEAVEN RICH MAN IN HELL :: For the poor man, in rags, is whisked into heaven, while the rich man, rings on his fingers, in the finest of garments, is mired in the flames of the underworld. ‘For it is easier for a camel to go through a needle's eye, than for a rich man to enter into the kingdom of God.’ - Luke, Chapter 18:25. Height 20 ½ in. x 12 ¾ in. approx. Photo: Ulrike Welsch

PRINCESS OF CASTLE ROCK — PRINCESS OF CASTLE ROCK :: Castle Rock is a natural rock formation on the side of Marblehead Neck facing the Atlantic Ocean. Height 19 in. x 11 in. approx. Photo: Ulrike Welsch

SASSY WOMAN — SASSY WOMAN :: Woman struts, an glare of confidence. Height 18 ½ in. x 10 ½ in. approx. Photo: Ulrike Welsch

SEVERED ARMS — SEVERED ARMS :: The arms of the police sever the links of protestors during the draft resistance protests of the late 1960’s. Served as the cover of a book the artist published – short biographical character sketches rooted in those revolutionary times. Height 13 in. x 21 in. approx. Photo: Ulrike Welsch

TAJ MAHAL - SHAH SHAN AND MONTAZ MAHAL — TAJ MAHAL - SHAH SHAN AND MONTAZ MAHAL :: The inspiration for the creation of the Taj Mahal is the Mughal King, Shah Shan, and his wife, Montaz Mahal. In their love she bore him fourteen children, dying in childbirth for her last child. On her death bed, she made him promise never to marry again, and to build a mausoleum to their love that the world would never forget. When she died, he cried for two weeks; then he dedicated his kingdom to the erection of the greatest monument to love ever constructed – at the bankruptcy of his kingdom. Theirs was a love that was as undying as the Taj Mahal itself. A slate presentation in dark slate that has an irregular border, as the design of the relief conforms to the original nature of the stone. Height 14 in. x 19 in. approx. Photo: Ulrike Welsch

WOMAN WITH A FAN — WOMAN WITH A FAN Woman swoons, enticing. Height 12 in. x 18 in. approx. Photo: Angela Masciale

WOMAN PLAYING BASS — WOMAN PLAYING BASS :: A woman player embraces her bass, and the world celebrates her exuberance. Height. 18 ½ in. x 11 ¾ in. approx. Photo: Ulrike Welsch

WOMAN WITH A GUITAR — WOMAN WITH A GUITAR :: Woman playing guitar, dedicated to his wife’s musical CD. Height 19 ½ in. x 12 ½ in. approx. Photo: Ulrike Welsch

WOMAN POSING — WOMAN POSING :: Woman poses – arm behind neck. Height 20 in. x 14 in. approx. Photo: Ulrike Welsch

WOMAN SINGER IN PROFILE I :: Free standing sculpture profile. Height 18 ½ in. x 11 ¾ in. approx. Photo: Ulrike Welsch

WOMAN SINGER IN PROFILE II :: Free standing sculpture profile. Height 18 ½ in. x 11 ¾ in. approx. Photo: Ulrike Welsch

WOMAN SINGER IN PROFILE III :: Free standing sculpture profile. Height 18 ½ in. x 11 ¾ in. approx. Photo: Ulrike Welsch

YOUNG GIRL WITH HARD GLARE — YOUNG GIRL WITH HARD GLARE :: Woman of tender toughness. Height 17 ½ in. x 10 in. approx. Photo: Ulrike Welsch

JUDGMENT OF MAN (EGYPTIAN BOOK OF THE DEAD) — JUDGMENT OF MAN The story begins with a conflict or brotherly rivalry between Seth, the hunter, himself holding a dagger, and Osiris, the farmer, having been slain by Seth. Motive for the slaying is said to be jealousy. Seth cuts Osiris into fourteen pieces, strewn along the banks of the Nile. Isis, retrieving thirteen pieces, reassembles Osiris, corpse-like. The fourteenth, the phallus, Seth has fed to a crocodile. Isis copulates with corpse-like Osiris, conceiving Horus, the falcon-faced. Horus is to avenge his father’s death. Anubis the jackal, lord of the underworld, allies to Osiris, now in his post-mortem state, as the Judge of the Living and the Dead. In executing his judgment, a heart is balanced on a sacred scale, hoisted by Anubis and Osiris. A heart lighter than a feather is bound for heaven. If the heart sinks the scales, darkness shall stalk the soul for eternity. Height 22 in. x 14 in. approx. Photo: Angela Masciale

HORN PLAYER AND SINGER — HORN PLAYER AND SINGER Her vocal notes are timed to his horn-playing. Height approximately 21” x 11”. Photo: Angela Masciale

NEW YORK SKYLINE

MOUNTAIN RIDGE WOMAN — MOUNTAIN RIDGE WOMAN Woman poses, showing off her exuberant size. Height 22 in. x 14 in. approx. Photo: Angela Masciale

RABABA PLAYER (Jordan) — RABABA PLAYER Jordanian musician plays an instrument as old as the ages, his bowed sweeping echoing the first remnants of authentic sound. Height approximately 22” x 7”. Photo: Angela Masciale

REFUGEES AND THE WALL — REFUGEES AND THE WALL Despondent family, in cavernous travails, encounters wall or barrier to entry and solace from a formerly welcoming people – hence their despair. Height approximately 22” x 14”. Photo: Angela Masciale

WOMAN DIVIDED — WOMAN DIVIDED The woman’s conflict best reflected in the grains and lines of the slate-stone itself. Height approximately 13” x 13”. Photo: Angela Masciale

SINGER'S EMBRACE — SINGER’S EMBRACE From a popular singer’s most exquisite moment, the sound fills out an woman’s jest. Height approximately 22” x 13”. Photo: Angela Masciale

HEALING TOUCH — HEALING TOUCH Explores the wonder and felicity of her own body. Height 12 in. x 18 in. approx. Photo: Angela Masciale

WALTZING TOGETHER — WALTZING TOGETHER Innocence in a movement of youthful innocence and nakedness in synchronicity and grace. Height approximately 22” x 14”. Photo: Angela Masciale

ODYSSEUS AND CALYPSO — ODYSSEUS AN CALYPSO Calypso, ‘she who hides,’ indwelled in the ancient isle of Ogygia, as Odysseus washes up on these shores sans his ship and fellow sailors; a straggler, but still a man. A goddess of the sea, she promises to transform this a sickly sailor into a luscious lover. Seven years of sensual bliss they share, as she, goddess of earthy delights, releases him. Height approximately 15” x 19”. Photo: Angela Masciale

MAN CRADLES WOMAN — MAN CRADLES WOMAN Embrace and entanglement of two who embody the physicality of each other.. Height approximately 22 ½” x 13 ½”. Photo: Angela Masciale

INSEPARABLE — INSEPARABLE A mother’s clasp for the child who shall never be severed from her. Height approximately 21 ½” x 11 ½”. Photo: Angela Masciale

CLARINETIST — CLARINETIST Stone grimace of a man with a reed, playing a tone of deep ferocity. Height approximately 22” x 8” x 1 ¾”. Photo: Angela Masciale

PELE GODDESS — PELE GODDESS The goddess of the volcano, she who feeds the islands of Hawaii their earthly sustenance, even as she looms a caldron of fiery vengeance, being arbitrary and enthralling. Height approximately 29” x 13”. Photo: Angela Masciale

PROPHET'S WALK - NOSTRADAMUS) — PROPHET’S WALK (NOSTRADAMUS) In his stride, he sings the trajectory of history, but in quatrains that are as mysterious as is his sixteenth century pose. Height approximately 18” x 11”. Photo: Angela Masciale

SARASWATI — SARASWATI Consort of Lord Shiva, Saraswati sits atop a swan, its bird-like strength buttressing her. In her benign smile, she offers the world four stylized limbs, as she plays the joyous harmonies of the veena and sings, so that we are blessed by her sacred song. She is, after all, the goddess of song and poetry, of the arts and intellect. Height approximately 21” x 14”. Photo: Angela Masciale

SHIVA — SHIVA Snake-laced yet brawny and majestic, as if rising from the oceanic depths, Lord Shiva is the manifestation of all that is – as he dances, and his consort, Parvati, at his feet, sings, and his brother incarnate, Krishna, augments, with his flute, the divine chord of the universe. Lord Shiva wears the tripod signifying the three holy rivers – the Ganges, the Yamuna, and the extinct Saraswati. Height approximately 21” x 15”. Photo: Angela Masciale

SPIRIT DANCER — SPIRIT DANCER Dancer who arches her body to the heavens, her hand in a sweeping synchronicity. nros in intricate movement, as if each limb belongs to the body of the other, in a manifold jest. Height approximately 17 ½” x 10”. Photo: Angela Masciale

THREE DANCERS — THREE DANCERS In an acrobatic spiral, three dancers form into a singular movement. Height approximately 17 ½” x 15 ½”. Photo: Angela Masciale

TWO DANCERS IN REDSTONE — TWO DANCERS Balancing off each other, in opposite directions, in redstone. Height approximately 17 ½” x 12 ½”. Photo: Angela Masciale

WOMAN BENDS OVER BACKWARDS — WOMAN BENT OVER BACKWARDS Pose more inclined toward advanced yoga or advanced dance. Height approximately 17” x 14 ½”. Photo: Angela Masciale

WOMAN COMFORTS SELF — WOMAN COMFORTS SELF Sitting, arms thrust downward, woman in a pose of attempted comfort in moment of apparent distress. Height approximately 15 ½” x 17 ½”. Photo: Angela Masciale

WOMAN STANDING AND GLARING — WOMAN STARING AND GLARING Young woman with glare, teasing out the toughness necessary to survive in this tough world. Height approximately 20” x 14”. Photo: Angela Masciale

WOMAN WITH A FLOWER IN HER HAIR — WOMAN WITH A FLOWER IN HER HAIR Woman’s austere but seductive look, from an unkempt bed. Height approximately 14” x 21”. Photo: Angela Masciale

WOMAN WONDERING — WOMAN WONDERING Woman poses, hand over face, indicating she is in some life-directing thought. Height approximately 21 x 14”. Photo: Angela Masciale

YOUNG WOMAN POSES — YOUNG WOMAN POSES Young woman sits in a way of pride and abandon. Height approximately 21 x 13 ½”. Photo: Angela Masciale

THE MEANING OF TIME — MEANING OF TIME (THE MEANING OF TIME) Young man to the left, in the face of destiny, manifest as the male and female and the skeletal, accepts his written scroll, indicating his fate, from the divine figure on the right. Height approximately 19” x 13”. Photo: Angela Masciale

LOVE IN A TIME OF COVID — LOVE IN A TIME OF COVID Based loosely on the imagery of the classic Pieta, it centers the grieving, not on a mother for her son, but on the futility and anguish of two lovers, the woman hoisting up the man, who appears to have succumbed during a pandemic. In the right hand corner is a medieval inspired skeleton. The skeletal figure touches the arm of the woman, a gentle nudge that forces the inescapable union of living and dying. Height approximately 19” x 13 ½”. Photo: Angela Masciale

SAN ROSALIA — SAN ROSALIA The patron saint of Palermo, Italy, purported as a Sicilian aristocrat, during the eleventh century she withdrew to a cave, choosing contemplation. A seventeenth century Palermo plague led to deaths of ten percent of the city. Frantic, Franciscans retreated to her cave and dug up her bones. In their justification, her sanctified bones ended the plague. Rosalia instills hope in times of pandemic. Height approximately 22” x 13 ½”. Photo: Angela Masciale

SIX DANCERS — SIX DANCERS Six dancers in intricate movement, as if each limb belongs to the body of the other, in a manifold jest. Height approximately 13 ½” x 27”. Photo: Angela Masciale

18 RABBIT — 18 RABBIT At the base, in the underworld, Xbalanque and Huniphil, the adventurous boys from the Popul Vuh, plan with the ball that is the spherical fatedness of the world. They play alongside the underground creatures, bats and snakes, as above them, on the escaleraro or stairway, mankind is elevated, where the ballcourt signifies the revelation through the game of ball itself. Each of the iconic birds straddling the sides tabulates the fates. As above in the heavens are the spirit god on the right and the corn god on the left. Unifying this form, from the heavens to the underworld, is 18-Rabbit, the axis of man. When he dies, civilization (Copan) retreats into legend. Height approximately 20” x 13”. Photo: Angela Masciale

DANCES WITH DEATH — DANCES WITH DEATH Between their innocence is a skeletal reminder of the perils of physical life, that is as taunting as it is undeniable. Height approximately 19” x 11 ¼”. Photo: Angela Masciale

LOVERS IN QUARANTINE — LOVERS IN QUARANTINE The invisible walls of pandemic separation relegate two sexual and romantic creatures to barriers as cruel as they are necessary. Height approximately 19” x 13”. Photo: Angela Masciale

SAVOR OF A KISS — SAVOR OF A KISS The moment when she sits on his lap, their embrace is total, the touch of their lips reverberate alleviating love. Height approximately 19” x 13”. Photo: Angela Masciale

ROOM OF HER OWN — ROOM OF HER OWN She sits in her room, afflicted by dementia, unable to discern why her love ones are wearing masks, and are not able to enter her room, as the orderly, in his desk mask, touches her gently. Height approximately 19” x 13”. Photo: Angela Masciale

TWO WOMEN CHATTING — TWO WOMEN CHATTING Sitting and conversing in a way only two women can, with unabashed intimacy and nakedness, they show love that is sisterly and romantic at the same time. Height approximately 11 ½” x 22”. Photo: Angela Masciale

WOMAN AND SPECTRE — WOMAN AND SPECTRE In her contorted resistance, and her hapless vulnerability, she wrestles the spectre at her back, as he ceaselessly pulls her into the world of the shadows. Height approximately 20” x 12”. Photo: Angela Masciale

CURANDERA — CURANDERA/CURDIERO Woman of divided powers, representative of the tradition of the midwife – she who practices in the arts of navigating the complex of the hyper-religioiu vortex of nature and death. Height approximately 20” x 12”. Height approximately 16” x 12 ½”Photo: Angela Masciale

HEALER WITH CADUCEUS STAFF — HEALER WITH CADUCEUS STAFF Duality of the serpent, she who corrals Medusa’s strands of hair, as if advertising the uncompromising unforgiveness of her thoughts – in part hostile, in part truthful, as if judgment requires a stern, snake-like lashing in order to rectify life. Ameliorated by the miracle of the Caduceus Staff, Moses’ device to ward away illness and discontent. Worship this snake, and the truth shall set you free. Redstone reverberates with indignation, as Medusa glares at the object of her wrath. One glance, and she will freeze you into stone, make you as inert as the work you glare at. But if the swarm of snakes swirls around a holy pole, pray to it, and the fragments of madness and disease will be whisked away. Height approximately 24” x 13”. Photo: Angela Masciale

LORD OF THE DANCE IN REDSTONE — LORD OF THE DANCE IN REDSTONE Acrobatic in reach, turbaned in regality, his movement stretches, Shiva-like, towards incorporeality. Alongside, yet in subtle strumming, she, Saraswati, the divine goddess, lifts him into the heavens through the vibrato of her music. In the background the natural order – trees, a bird, a snake, the sun and the moon and butterflies – meanders through an aura of timelessness. All of which is incised, with its movement and its stillness, into the fractious, contentious august beauty of redstone-slate. Height approximately 20” x 14”. Photo: Angela Masciale

MOTHER EARTH BIRTH — MOTHER EARTH BIRTH Through weariness and hope, the mother of all mothers gives birth to a world in need of renewal. Burdensome beauty, as the stomach reveals the topography of all that we imagine as human. Height approximately 20” x 13”. Photo: Angela Masciale

TRAGEDY OF KING LEAR — TRAGEDY OF KING LEAR Willing to surrender his kingdom to the adult daughters who praise him most, lovely Goneril and Regan. As Cordelia, honest to a fault, chimes in on his ludicrous legacy, attesting that he was a good father, she a good daughter. Good is not good enough. Nothing shall come from nothing, he says of her modesty, when what he is to be charmed to high heaven. Banished Cordelia, to France for her truth telling, the other daughters evict him from his kingdom, repeating his words, but in castigation, a dim reminder of his increasing incompetence. First fruits take center stage in this sculpture – Lear railing at the heavens, imagining in his delirium, that if he is a fool, then the clouds and the rainstorms must destroy everything there is. His fool, meanwhile, reminds him that it is wiser to seek shelter from the storm – indicating that sometimes a fool is wiser than a king. Or is it an ex-king? No matter though. Since the invasion of Cordelia and her spouse – the French King - ends in the English kingdom (Lear’s evictors) defeating the invading French, as Lear’s defeated daughter, more honorable than either Regan or Goneril, is hanged from a tree, punished for defying the kingdom that gave her life, if not nobility. Lear discovers her, and carts her dangling body into the battlefield – where he grieves his grievous error. Meantime, Gloucester, once Lear’s chief support, is forced to face the way he had dispatched his honorable son, Edgar, having been seduced by Edmond, his incorrigible (bastard) son, into believing that Edgar was out to steal his, Gloucester’s legacy. Except for when he, Gloucester, had been stripped of his eyes by Edmund’s allies, Regan and her husband Cornwall, in what had been a brutal moment for the theater, that he, Gloucester, was able to see – to see how Edgar would never abandon him. Blind but chastened Gloucester, escorted by his loyal son, Edgar, and yes, into the battlefield, he learns the truth about honor and tragedy As Edmund, challenging Albany, now heir to Lear, is also strung from a tree. The wayward Lear daughters – Goneril and Regan – did what you’d expect: turning on each other, their attempt at mutual homicide – from stabbing to strangulation – ending a feckless expression of family disfunction, all of which had emanated from Lear’s pursuit of vanity. Height approximately 19” x 13 ½”. Photo: Angela Masciale

WOMAN IN DRUMMING TRANCE — WOMAN IN DRUMMING TRANCE In shimmering stone, in archaic jewelry, otherworldly as she drifts from human to spirit form, with contours that are smooth and jagged at the same time. She is as much a specter as a physical force, as the drum is, as it has always been, the umbilical of this world with the other. Height approximately 20” x 14”. Photo: Angela Masciale

ENTWINED — ENTWINED. Bodies engrossed, in all their ambiguous emotions. Is it love, affection, suffocation, suspicion? Is it male or female, muscular or tender? These are the sentiments evoked here, two bodies cast in the sexual shadows, but in the form of uncompromising androgyny. Identity surrenders to astonishment, befuddlement, wonder. Height 19 in. x 13 ¼ in. approx. Photo: Angela Masciale

FOUR MALE DANCERS — FOUR MALE DANCERS In grace and union, four distinct male figures in poetic and physical flight. Height 13 ¼ in. x 28 in. approx. Photo: Angela Masciale

LOVE AND VIOLENCE — LOVE AND VIOLENCE Juxtaposed in a world fraught with snakes and skeletal soldiers dispatching their violence, and in a manner more indicative of Armageddon, under the willow Tree of Life itself, two lovers embrace in a momentary love that promises to redeem the fraught-ridden world in a gesture of innocent sexuality. Height 19 ½ in. x 13 ½ in. approx. Photo: Angela Masciale

LOVERS IN STONE EMBRACE — LOVERS IN STONE EMRACE EMBRACE Tender merging of facial love in its purist form. Height 16 ¼ in. x 14 in. approx. Photo: Angela Masciale

MAYAN WOMAN IN HIPAL — MAYAN WOMAN IN HIPAL. In her hipal, expressing her regality, her nobility – her inscrutability. (Guatemala/Mexico) Height 20 in. x 12 in. approx. Photo: Angela Masciale

MEDUSA'S SNAKE SPLITS THE HEAVENS — MEDUSA'S SNAKE SPLITS THE HEAVENS. Redstone prowess of ferocious woman whose powers upend patriarchy. Height 19 ¼ in. x 12 in. approx. Photo: Angela Masciale

MOVEMENT IN SPACE — MOVEMENT IN SPACE. Dancing bodies entangled, each sharing the limb of another in a mingling jest. Height 19 in. x 13 ¼ in. approx. Photo: Angela Masciale

WOMAN IN REDSTONE — WOMAN IN REDSTONE. Stern, stone face that augments luxuriant posture of a woman inn bond of determination. Height 16 in. x 14 in. approx. Photo: Angela Masciale

YOUNG BUDDHA FACES HIS TEMPTATIONS — YOUNG BUDDHA FACES HIS TEMPTATIONS. Young Buddha emerges from his sanctuary to demonstrate his Enlightenment, all the while facing the anguish of a young mother, whom he had abandoned, with her – and their – young son; but also resisting the sway of his temptress, Mara, who promises him a flower bed of earthly delights in exchange for absconding from his mission. Height 11 ¾ in. x 19 in. approx. Photo: Angela Masciale

TANGO TO THE END OF TIME — TANGO TO THE END OF TIME In a jest of sensuous delight, a man hoists up his dancer, her swirling skirt drooping, as she is ensconced in the muse of a base, fiddle, and keyboard, the five silhouetted in an eternal musical unity. Height 19 ½ in. x 13 in. approx. Photo: Angela Masciale

SIX DANCERS — SIX DANCERS Six dancers in intricate movement, as if each limb belongs to the body of the other, in a manifold jest. Height approximately 13 ½” x 27”. Photo: Angela Masciale

TANGO'S EMBRACE - — TANGO'S EMBRACE Entanglement of two dancers in fiery passion, her grace and his strength, eye to eye engulfment. There is a passion in stillness, with heightened anticipation of movement that wavers between love and violence. 20” x 12” Photo by Daniel William Zampino

IDYLL — Moment of idle pleasure, as the musicians play, but as the elder, in his wisdom, remind each of the idyl’s of the transitory nature of this joyous moment. Set, presumably, in the joyous, raucous pre-Christian classical times, when the muse was a percipient of sensuality. 13 ½” x 20” Photo by Daniel William Zampino

MOLOCH AND MAMMON — The fallen soldier lies helpless before the god of war, Moloch, another wretched sacrifice to war’s partner, Mammon, the deity of wealth and power, who sits atop a skeleton, as the naked woman, pleas for mercy, her counterpart screaming in agony, as the lumbering man sits in lamentation. 12 ½” x 17 ½” Photo by Daniel William Zampino

LADY SINGS - THE WAIL OF JANIS JOPLIN — The screeching pain of Janis Joplin, as she wails to her muse, the blues’ lady, in her synchronistic dance. 18” x 11” Photo by Daniel William Zampino

WOMAN VIOLINIST — Woman in synchronicity with the violin, every element of her movement according to the sound emanating from her dance and song. 17 ½” x 12” Photo by Daniel William Zampino

EMERGING FROM CONFINEMENT — Lanky woman whose confinement is about to end – her luxuriant limbs becoming the mechanism for her emerging liberation. 19” x 13” Photo by Daniel William Zampino

MALE DANCERS IN TRANCE — Two male dancers whose musculature and sheen seem to reverberate – one body with the other, as if the physical bounds are beginning to thin. 11 ½” x 18” Photo by Daniel William Zampino

DANCERS' POSE — Dancers’ Pose A demonstration of strength, grace and balance in a momentous pose; where the entanglements of limbs align to time’s invincible stillness. 20” x 13 ½: Photo by Daniel Zampino

MY JOYOUS VALENTINE She comes as a gift of strength and grace. 19” x 11”

TANGO'S EMBRACE - — TANGO'S EMBRACE Entanglement of two dancers in fiery passion, her grace and his strength, eye to eye engulfment. There is a passion in stillness, with heightened anticipation of movement that wavers between love and violence. 20” x 12” Photo by Daniel William Zampino

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About The Art

“Daniel’s relief sculptures stand in an ancient tradition, dating to the Assyrians, and before – of telling stories through stone carved images that hold your attention.” John Raimondi, sculptor.

Slate Gallery photos by Ulrike Welsch.

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