Gallery 822   •  822 Canyon Road   •  Santa Fe, NM 87501

phone 505.989.1700  •  fax 505.989.1889  •

Carol Gold's Biography

Balance, simplicity, a flow of movement between roundness and angularity, figures of substance often seemingly weightless; these are instant impressions when looking at the sculpture of Carol Gold. Emotions and moods are expressed in the postures of her figures rather than through facial expressions.

Gold's inspiration comes "from where I am emotionally as well as from nature, and from what is going on in the world." She may need to counter a particularly chaotic time with a peaceful or loving subject like Tranquility or Embrace, both created in 2003 following the invasion of Iraq. The two figures of Embrace came from her response to a war correspondent's feelings that, when in a war zone, the only place he felt safe was in the home of a loving couple or family.

Communication is a major theme of her work which usually involves two figures interacting in a wide range of relationships: tender, confrontational, contemplative, often joyous. The subject of their communication is understood immediately by their postures.

While Gold's sculpture is based primarily on the human figure, an occasional horse appears to show a hint of her personal background when she spent hours on horseback as a child while growing up on a dairy farm in western Massachusetts. Following art studies at Cornell, Boston University and the Museum School in Boston, Gold spent the next 14 years raising a family before returning to sculpting full time while learning bronze casting techniques at the College of Marin in California in 1977 and 1978.

Gold built her own foundry north of San Francisco which she ran for 12 years. During this time, her intimate relationship with the bronze and the complex stages of the casting process affected the evolution of her sculpture. For her, sculpting in wax rather than clay allows for greater expressiveness, and allows her to sketch her figures rapidly as ideas are evolving.

Gold may incorporate pieces of burlap with the wax originals to expand her "two basic sculpting vocabularies – flat, nude figures and draped figures." The rich patinas of her figures range from muted gold and copper to shades of turquoise, and provide the final element in making her sculpture unique.

For the past twenty five years, Gold's work has been widely exhibited in the U.S. and Canada. Among numerous awards are those received from the National Sculpture Society and the North American Sculpture Exhibition. Public commissions include sculptures for the city of Bakersfield, California, the campus of Southwest Oregon Community College in Coos Bay, Oregon, and the Clinton Presidential Library in Little Rock, Arkansas.

Gold is a long-standing member of the National Sculptors' Guild whose purpose is "to champion a community of artists and to serve as a bridge between these artists and the public." Their primary objective is to help communities provide innovative artwork for public placement.