20 × 4 × 4.75 in (50.8 × 10.2 × 12.1 cm) (overall)
(including Buyer's Premium)
Private Collection, Toronto
Sorel Etrog, Staempfli Gallery, New York, 25 April-13 May 1972
Although he adopted a mechanical visual language as a central structural and thematic device, Sorel Etrog’s work never lost sight of the human condition, suggesting an ongoing dialogue between the two. So many of the resulting compositions appear at once organic and engineered—qualities often seen as oppositional, yet in Etrog’s practice, they become inseparably linked.
In the 1970s, Etrog pushed further into experimentation, expanding into mediums he had not previously explored. Mannequin, 1972 stands as a rare example of his work in marble. He also ventured into film, writing and directing the avant- garde Spiral (1974), which traces the arc of human life from birth to death. Later in the decade, he brought his distinctive visual language to the stage, designing sets and costumes for The Celtic Hero: Four Cuchulain Plays by W. B. Yeats, produced in Toronto in 1978.
