- Fine Art
- High Hopes
Cyrus Tilton (2010)
available to collect, click to inquire about pricing
63 x 26 x 18.5 in.
steel and cement
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“Suggesting Magritte’s paintings with a 21st-century aesthetic, these sculptures form fantastic equivocations, prompted by the mysteries of life. High Hopes (2010), for instance, consists of the headless body of a horse rendered in cement— Tilton welcoming the challenge to mold the quick-setting substance before it dried. A steel armature risingfrom what was once the back of the impaired creature holds a section of earth, which in turn, supports several slender steel trees. Like Brancusi, Tilton considers his bases, including the square, transparent pedestal for High Hopes, as essential parts of the works. The title, High Hopes, indicates Tilton’s aspiration to achieve the desired results during his working process. The craftsmanship of forming and making— absent from much current art production— is primary to him.”
– Peter Selz for Sculpture Magazine, to read the full article click here
Cyrus Tilton’s mother and father espoused the values of the back-to-nature movement of the Sixties and when they were first married, set up house in a remote river valley in the wilderness northeast of Anchorage. His father has worked as a commercial fisherman and park engineer. His mother went from tending vegetables in the family truck patch to being a master gardener who has designed gardens for clients. Cyrus remembers being a toddler in a one-room cabin; he remembers his mother fetching water for his bath from the river below the house; he remembers getting a home visit from a bear. The vast expanses of Alaska were always just outside Cyrus’ back door, even when the family moved to a house in Chugiak, close to Anchorage. From there, he could still trace with his eye the profile of Mt. Susitna, the great “Sleeping Lady” that dominates the horizon west of Anchorage, and watch the seasons roll through the splendid birch forests of the great north. Since then he’s been searching for elements of The Great Good Place in all the locales where life has taken him. His move to the Bay Area brought him into contact with a post-industrial urban landscape, where he now observes the processes of decay at work in concrete and steel with the same keenness that he watched, back in Alaska, the powerful effects of weathering and erosion on his surroundings. Wherever he goes, he never leaves behind his love of nature and his delight in analyzing the intricate structures of organic forms. He is represented by Lonnie Lee, and Vessel Gallery (www.vessel-gallery.com, 510-893-8800.) For more information, email firstname.lastname@example.org
Click to read more about Cyrus Tilton