Sassona Sakel Norton



I sculpt the figure because of its familiarity, the artistic challenge presented by its abundant interpretation, and its ability to act as a concrete metaphor for the human condition that interests me.

I see the human condition as a dialogue between being in an undesirable reality and wishing to change it.  This duality is not new, but in contemporary life, it is imbedded in greater volatility and complexity.  Nowadays, it takes a form of a struggle between strength and vulnerability, holding back and reaching out.  As our life becomes more hectic, crowded and isolating, we simultaneously develop a greater need to protect our boundaries and a desire to expand beyond them.  It is a wonderful testament to human perseverance that although life can be experienced with a great deal of anxiety, it has not diminished the power of yearning - an all-encompassing, complex, and fascinating emotion of dual characteristics.  Rooted in the agony of absence, yearning stems from the belief that the future holds promise and from the hope that in the conflict between reality and desire - desire wins.

I have chosen mostly women as the carriers of the inner dialogue of presence and absence that is at the core of yearning.  Although they are executed in the traditional process of lost wax bronze casting, the aesthetic approach is contemporary in its focus.  Their strength – an ideal so different from the romantic approach to feminine beauty - is conveyed in an over life-size scale and in an articulated muscular structure; their vulnerability is expressed in movements and emotional gestures.  Nakedness is carried one step further:  the women are bald, and the absence of hair makes them more exposed.  A symbiosis is created between the elements of strength and vulnerability: vulnerability humanizes strength, and strength removes vulnerability away from weakness and turns it into openness for possibilities.  The hands are always larger than other parts of the body.  Often they are sculpted individually as autonomous sculptures.  In their gnarled and raw structure, they lose their gender identity to become the ultimate carriers of time passing and reaching out.

In the end, duality does not necessarily mean contradiction or polarization.  Accepting the elements of strength and vulnerability with their various derivatives as equal components of importance in the human condition makes life contradictions easier to bear.  As such, it provides an opportunity to discover peace where one least expects it.” 


Fleeting Light
Fleeting Light (detail)
To Whom Do I Pray
An Hour Before Dawn
9/11 Memorial - Montgomery County Courthouse, PA - 2005
First Rain - 2002
Memories of Sweetness - 2004
Unquenchable Thirst - 2004
At the Service of Others - 2008
Touch - 2006
The Last of Summer
The Last of Summer (detail)