DTLA LIFE MAG #28 | SUMMER 2016 - Page 82

ceedingly important social issue, with dignity and Post Graduate studies. Rowe had secured the oldest superb quality.” and largest gallery in Sydney and an art award from the Australian Government enabling her to travel the Freeman has exhibited her artwork in many group world. Meeting the influential people from the Interexhibitions, most notably in The Substation Contem- national Council of the Museum of Modern Art, they porary Art Forum in Melbourne, and the Buiten col- impressed upon her the need to develop as an artist lective in Chiba Prefecture Japan. in the stimulating environment New York offered. Her artwork lives in many private residences throughout the U.S., Japan, Dubai and Australia. She is currently producing “The Joshua Series”, a collection of paintings inspired by recent visits to the Joshua Tree National Park in the southwest United States. The workflow sequence is straightforward and spontaneous: Rowe makes the sculptures, and Freeman paints them. They send imagery and sketches to each other; Rowe builds the forms, and the painting is done during Freeman’s extended visits to Rowe’s atelier. They work side by side on the deck of Rowe’s atelier in Silverado, California, under a canopy of trees. Neither knows how the actions will turn out until they are finished. Having numerous shows in Australia, Rowe, decided to relocate to New York permanently at the age of 26. Establishing her studio on the Upper East Side, Rowe was able to have numerous high profile shows which included over a hundred paintings and sculptures displayed throughout the Bergdorf Goodman Stores, The World Bank, and Kennedy Center in Washington DC as well as the honor of lecturing at the Smithsonian Institute at the age of 29. Both her husband’s and her career afforded them to move into their dream loft in the lower part of Manhattan, awaking to the Statue of Liberty every morning. That peace was shattered by the arrival of their son in 1998 and both new parents realized Southern California would be a much more bountiful environment for them as a family. Together, they brought an acre of land with an old dance hall and built a large Rowe likes to say that the collaboration is to some studio in what was an old mining town at the mouth extent practical since the work on these sculptures of the Cleveland National Forest called Silverado. represents over 60 years of cumulative technical skill It is there in relative tranquility Rowe has found the on behalf of both artists. However, the nature of the freedom to pursue her art with the most wondrous of two artists’ collaboration goes much further than inspiration, the gift of nature. the constraints of space and time: These works represent a force greater than that of two artists merely Rowe began sculpting in monumental ceramics over working together. The Love Armada speaks to mate- two decades ago. As an artist, Rowe is the bold life rial and psychic realities that transcend the individu- force who addresses the sacred women. Her females al in the here-and-now. are not specific in nature but rather possess the position of the “temenos” or inner sacred space. With Cybele Rowe was born in Sydney Australia, second her sculptures, Rowe creates containers to hold and eldest of six children. She is the daughter of a world’s announce these beings to the world. In her earliest leading authority on Pediatric Genetic Research and works entitled, “Vessels,” Rowe confronts societal a documentary filmmaker mother with a strong spir- pressures of female beauty. Later with the birth of itual interest. Rowe spent her early years in the US as her son, Rowe reclaimed her space as an artist and her father was doing research at Duke University. Her completed three bodies of work in only three years parents decided to return to Sydney, with its magnif- with “Pleasing Female Imagery,” “Human Shells as icent beaches and glorious harbor which she grew Temples,” and “Female Elements.” With the entry of up. Completing her High School at Loreto Convent her daughter, Rowe finished her “Fertility Figures.” Kirribilli, Sydney, she was accepted Ѐ܁啅́%ѡ͕́ɥ̰ѡ͕չхѥ)ѼѡɕȁЁ͍ Ё%ѥєUՍ́ٔͥɔɔյ)ٕͥ䁽9܁MѠ]̸Uѥȁɴ!ȁݽɭ́ѥѱq!ͭϊtɔѡɍ ȁQ̰́͡ѥՕȁՕѥݽé͔ѕȁɕѥ((