Working with wire mesh is appealing for its properties. It is malleable, light-weight and strong. It is also highly reflective and transparent. In my wire mesh sculptures, I explore meanings of transparency and illusion. While the sculptures show visual transparency, one may reflect on how transparency functions in our behaviors and interactions with others. Focussing on the transparent properties, my sculptures may be looked through to the inside where one actually sees things differently. I believe art must provoke the observer to “see differently.” Seeing differently is about life-long learning and relearning. These are pursuits of mindful living and art has the power to enable it.
I also find drawing human figures and portraits to be a compelling pursuit. With charcoal and ink wash, I intentionally create strong lines and gestures that stand on their own as well as work together to achieve likeness. There is a tug of war between seeing single lines as art versus the collective set of lines and gestures that create the mood of the portrait or the convincing pose of the body. This state of flux is intended to engage the viewer, who, ideally, shifts focus back and forth among individual gestures and larger recognizable features. In this process, I am attempting to foster a psychological connection between the viewer and the person in the drawing. When that connection is made, the intrigue of the drawing is greater than the sum of the marks upon the paper.
Marly earned college degrees in chemistry and sculpture followed by a PhD in chemistry and a professional life in biological chemistry in academia and biotech. Moving to Whidbey Island a few years ago, she now creates sculptures, draws with local artists in live model sessions, and plays violin in the Saratoga Orchestra of Whidbey Island.