Daisy Youngblood

McKee Gallery

The only disruption in this austere, brightly illuminated space was the diminutive work of Daisy Youngblood—a community of small votive objects scattered around these ample rooms. Mounted directly on the walls or placed on tall pedestals, Youngblood’s clay sculptures seemed to undermine the carefully constructed serenity of their environment.

Each piece embodied abandonment or carried in its contours some trace of injury, age, or lifelong struggle. Foreshortened Horse, 1992, was mounted at eye level, projecting from the wall at mid body to animate a space that extended well beyond its Lilliputian dimensions. The neck turned sharply, its head tucked back in a graceful gesture of deference or perhaps disdain. This elegiac form spoke of unimaginable sorrow and sounded less expected notes of uncompromising defiance.

Standing on a chest-high pedestal, Little Elephant, 1991, was tragically whimsical.

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