Cloverdale Reveille from Cloverdale, California • 10

Page 10 Wednesday, October 11, 1978 7W Sculptor uses Hoops and Ribbons By Emory Holmes Sonoma County Arts Council BP fey 'i-ffjlkiW 15 Artists'' sttow in Santa Kosa. gallery visitors could not keep their hands off the lare. free hanging sculpture. Silver tJidy which was her opening contribution to the show Silver Lady" is described lhe artist as a horizontal hoop suspended in the air to which one-inch by. twelve-fool long mylar ribbons are attached As the sun reflects off the mirror surface, and the wind moves through the ribbons, light patterns are reflected throughout the space, along with the sounds of their rustling.

The mylar surfaces reflect the environment in which the piece is hung Ratcliff first began her work with the circular form after doing video recordings on the Rosebud Reservation, in South Dakota, of various sacred ceremonies. Her work was done at the invitation of Leonard CrowDog, Chief Medicine Man of the American Indian Movement, and his family, and has exerted a profound influence on her life and work ever since "I was moved by the whole experience on a very deep level, and in 1971 and '72. constructed the first works utilizing the circular form tepees, shields, and so forth." In 1972. the artist traveled to California and continued her exploration of the circular form. She worked briefly in the Renaissance Faire in San Francisco creating pin-wheels, and in an effort to make a better display for her products, she constructed a hoop four feet in diameler with dozens of ribbons streaming from its edges When one takes the time to study the works of Clover-dale sculptor Mary-Curtis Rat-cliff, several things become apparent.

One of the first things the viewer may discover is the beauty of the ancient forms, the hoop and the straight line, are utilized simply, nakedly, and with stunning dexterity What one may realize secondly, is that these basic forms have been manipulated to create myriads of geometric shapes, seemingly opposed and in combination within and beyond the compositional space. Thus, cylinders, pyramids, and cubes reveal themselves as invisible components, expanding and descending into the body of the work, creating what may appear to be a lively aura composed entirely of implied forms What may come to the attentive viewer thirdly, is that Ratcliff's spare, quiet works reflect not only a complex and masterful use of materials and techniques, but perhaps a concomitant philosophy of application. At any rate, what the viewer leaves with is an experience and a communion with the artwork, rather than a tacit observation of it. And this is rare in modern art. "I am very interested in people interacting with my work." Ratclif.

states, "in one show kids rushed through one of my sculptures. Both they and the piece were effected by the changes in light. I try not to create ork that is stagnant, and feel that each piece has its own energy field People interact without being told." She's right. During her most recent exhibition as part of the Lincoln Arts Center Gallery 's "One day I was working with the hoop at a 45 degree angle and saw how beautiful il was with the ribbons dangling, and I said, 'hoops and ribbons, that's and immediately did a series of ten drawings utilizing hoops and ribbons Ratcliff has been developing her initial idea with remarkable results. Since that incident, Ratcliff has shown her work in video sculpture, and graphics in 22 exhibitions, including works in such prestiegous museums and galleries as the San Francisco Museum of Modern Art.

the New York Museum of Modern Art, the Oakland Museum of Art, and the San Francisco Woman's Art Center, where her one-woman exhibition of drawings and sculptures was the gallery's first. Ratcliff will be displaying "Silver at the Santa Fe Arts Festival in Santa Fe. New Mexico, through October, and is now toying with the notion of returning to i work in fiber and fabrics, which, incidentally, was the "stuff" of her first sculptures, at age seven. "I am at the point of transition," concludes the versatile Ms. Ratcliff.

"It is the spiritual aspect that is the essence of my work and it is this energy I want to communicate. I am very much interested in what I'll do next." So speaks an artist whose diverse interests and personal elan have heretofore successfully carried her through similar transitions throughout her already brilliant young career. "Wind Woman" (copyright 1976) is the title of this sculpture by Mary Curtis-Ratcliff. The work is shown from a low angle and shows the interior reflective surfaces of the mylar strips. Want quality Call custom printing? us: (707) 462-5764 Hrrl I.k conoQap(ucs TALMAGE PROFESSIONAL CENTER 405 Talmage Road Ukiah.

California 95482 Hi' 7 concept to completion Her sculptures are designed to be touchable. Here. Mary Curtis-Ratcliff stands in the middle of her "Silver Lady" (copyright 1974 mylar sculpture. Not only are they touch proof, but weather proof in all but severe weather. She has the hanging sculptures scattered about her yard reflecting the sun as they blow in the breeze or lie idly in silver strips.

-Photo by Robin a 1 ,.1 W7 v.uiUWIiS Nil i ri uiLiHHttvrini ill WE FEATURE Printing "ONLY THE BEST 'it from a wm mm.Am uinpti mi. i by Mi TDK! SAIL COMFORT RIDE Mary Curtis-Ratcliff stands with her "Wind Wings" (copyright 1976 sculpture in her Cloverdale studio. She will soon exhibiting some of her works in Santa Fe. New Mexico -Photo bv Robin IS GOOD ENOUGH" 13 SHELL'S BEST: STEEL-BELTED RADIALS (phn 1.87rtoraJ EctHbi tach) They don't conn' any iH-tttT or anvtouiihtr from Shell. Kecause these an' made with two radial plies of polyester nirdcim two tnni)! tiellsof steel cord.

Come in and SHELL (plus $1.64 Federal Excise Tax each) Seat Belts Save In Ontario The province of Ontario in eastern Canada is reported the National Automobile Club to have made seat belt use mandatory at the beginning of 1976. As a result, traffic fatalities dropped from 1.314 in 1975 to 1.110 in 1976. and traffic fatalities in 1977 dropped to 1.002. A78 13 And you. of 1 FREE SHAMPOO SET or HAIRCUT GAME TUESDAY THROUGH THURSDAY New Directors The Board of Directors met Wednesday evening at their work shop at St.

Peters Church. Directors for the new year were elected. Those elected were Mac McClure. Nancy Burres. Chick Bright.

Bud Emmel. Winnie Connally and Ruth Huddle. These members will serve through 1981. Those remaining on the board are Audrey Ball. Lillian Berg.

Eloise Carter. Charlotte Evans and Esther Ridderbush. whose terms expire in 1979. Officers elected for the comming year were Ruth Huddle President. Berd Emmel, Vice President.

Esther Ridderbush. Recording Secretary and Winnie Connally. Treasurer. A card was read from Eloise Carter who is on vacation in Massachusetts. Plans were made for the workshop activities for the coming months.

On October 24 Marie Sparks will give a talk on ceramics, and it is hoped that John Patrick will again give art lessons. Also members are planning to make Christmas decorations in the workshop. The Christmas Bazaar will be held at the Citrus Fair Tea Room on Saturday November 18. Members will sell hand crafts and man their own individual booths. Audrey Ball is chairman of the Bazarr and Nancy Burres is her assistant.

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