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The Unanticipated Death of Heaven Sculpture

Paul McKay

United States

Sculpture, Clay on Ceramic

Size: 8 W x 15 H x 9 D in

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About The Artwork

This was the first sculpture of mine that encompassed the dynamics of “Etherealism.” Etherealism (a term I coined) is the psychological, philosophical, social, emotional and sensual realm of Existentialism, exceeding the mundane. It is the child of Surrealism but progresses beyond the elements of surprise, unexpected juxtapositions and non sequitur. Etherealism is the evocative manifestation of Quintessence and representative of archetypal Essentiality. This sculpture, entitled “The Unanticipated Death of Heaven,” has many disparate elements. It must be viewed fully around to see all of the details.

Details & Dimensions

Sculpture:Clay on Ceramic

Original:One-of-a-kind Artwork

Size:8 W x 15 H x 9 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Born in 1956, Paul McKay graduated in 1984 with a Bachelor of Fine Arts in Sculpture from the Philadelphia College of Art (now University of the Arts). For 21 years Paul McKay had been owner, president and chief designer of True Line Drafters, Inc., an architectural design and drafting firm in Pennsylvania. During that tenure he designed and completed renderings and structural drawings for new residences, light commercial buildings, renovations, residential and commercial additions. Whereas architecture has its own design and aesthetic rewards, Paul is now pursuing his passion for sculpture full-time. During the past three years he has completed many new and exciting sculptures. Paul McKay is primarily a sculptor, but he also draws in graphite and paints in watercolor. His drawings are "automatic." His art is a pursuit of the psychology and philosophy of human existence. Inherent in this is the use of the human figure as a manifestation of robust form, voluptuousness, sensuality and dynamic expression. His work is not art for the sake of representation, per se, as he seldom uses models. Most of his figures are the product of his own imagination and immediate inspiration. Abstraction of form and vigorous textures result from his sensitivity to the clay medium. Distortions and exaggerations become symbolic. He cites the works of Salvador Dali, Francis Bacon, J.M.W. Turner and Auguste Rodin as having had significant influence on his own work.

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