>> The bodies on the beach clearly are not expressive of erotic desires: their corpulence is to be understood as a symbolic accentuation of plentitude and of their ability to give birth and to nurture. The figures are voluminous in order to emphasize their intrinsic female nature, that of fertility, abundance and plenty, and of the ancient goddess of Europe, where female represents magic of a primal, procreative energy. They more denote motherhood, fecundity, or fruitfulness, than sexuality, sensuality, or erotic passion. Modeling is often rough and raw, with anatomical forms either exaggerated or simplified in order to get intensity of expression.
Material used is a part of the conception of her work. Clay, human art material par excellence, her dominant sculpting medium, is evocative by itself: earthy, warm, submissive, obedient and humble, easy to recognize, and simple to identify.Slightly applied colors, capturing the warmth of the sun, are bright, joyful, and light-hearted.Postures are gentle, resting, relaxing, and reclining. Bodies appear to be calm, quiet, carefree, and serene, some deeply meditating, other absorbed by utter contentment or immersed in pure joy. They are on the beach and, yes, they are thoroughly happy.
With more recent sculpture, classical beauty is back, and focus is mostly on two details: hairstyle, which is extremely modest and neat, and garments, with their predominantly floral motifs embroidered with a renaissance passion for detail. The rest of the busts, their faces and postures, one perceives as a self-possessed gracefulness and pulchritude, set to conquer the world.
Modeling is more meticulous and smooth, though the coloring is still very light and muted, concentrated on garment only.They know they pose. They are calm and proud, self-satisfied, self-confident, and well aware of the beauty they carry about. They are self-sufficient, self-assured, overconfident, and, yes, anxious to step onto the red carpet, and into the limelight of the Promised Land.