The historic roots of this work are found in the cubist, constructivist and surrealist movements. The sculptures and drawings attempt to explore realms of the subconscious; it is the unknown that I'm concerned with. The premise is that within one there are structures waiting to be excavated. The sculptures are like fossils- the imagination fossilized. The fascination and intrigue with the metal medium lies in its hardness and intransigence as contrasted with the more ephemeral human qualities of flesh and fluid. I do not work from models or sketches. I do not have or desire to have any preconceived idea about what the finished work will look like. Each work is a new exploration or journey. The inherent aspects of sculpture explored in each work have to do with the objects multidimensional persona, the relationship between form and color, gesture, and tactility. Color is an essential aspect of the sculpture. Its evolution and integration with the sculptural form echoes the additive-subtractive process that occurs in the three-dimensional resolution of the work. Drawing is more immediate and direct in its nature. It can rapidly generate a multitude of ideas that in part reflect the sculptural forms or shapes that are being fabricated or manipulated at a particular time. In this way the drawing tends to keep the mind limber and agile in its confrontation with the harder, more obdurate metal medium.
Joseph Slusky: The Artist and the Dance
360, Summer 2006
by Andy Brumer

The Fluidity of Felling and the Solidity of Form
Visions Art Quarterly, Spring 1994
by Andy Brumer

Contrasts of Concept and Form
Artweek, March 29, 1986
by Victoria Powers

Caress of Steel, George Lloyd and Joe Slusky
The Portland Phoenix, November 3, 2000
Jenna Russell

Slusky in the Context of Modernist Tradition
From catalog essay in Joseph Slusky, Sculptural Survey, 1978-1998
The Oakland Museum of California sculpture court at City Center
by George Lloyd

Better Living Through Alchemy
ArtsBeat, Express, March 12, 1999
by Jack Foley

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