In ancient Greek mythology, there was a sculptor named Pygmalion who was unable to find a woman to be with who wasn’t in some way flawed. And so, he decided to sculpt the”perfect” woman, and he called her Galatea. Many people in our modern society often have a narrow definition of what is beautiful as far as the human figure is concerned. In fact, the notion that the “beautiful” body is a “skinny body” is only a recent manifestation in our history, resulting in problems such as anorexia, bulimia, depression and discrimination against people of size. Galatea, the first in Adams latest body of work, the ‘goddess series’ involves reinterpreting various female figures out of ancient mythology, rendering them in a contemporary, rubenesque affect. Through creating images of female figures that are typically greeted with negativity, and rendering them with a certain confidence and sensuality, I remind the viewer that beauty comes in the wondrous delightful variety seen in every body. “Galatea” measures 48″ tall.
Whereas “Teapot” is grand and planar, Adam Schulz of LaPorte, Colo., has provided a bronze that is both intimate and sensuously organic. “Galatea” is a masterfully realized form and highly successful essay in the art of bronze casting. The subject comes to us from antiquity and is closely bound to the story of Pygmalion, whose beloved sculpture of a beautifully carved goddess eventually comes to life. Schulz’s beauty is fleshy and rotund beyond the definition of Rubenesque, but alluringly and magnetically sensual and graceful. The artist’s ability to capture the volumes of flesh is admirable and, in the abstract, beckons the viewer to travel around the work and appreciate the form’s great sensitivity to volume and mass as something at once rather intimate but ultimately comfortably public. Viewing “Galatea” from all sides makes for a very rewarding experience.