Dance 5Bronze, 8" x 6" x 4"Dance 5
On Point 1Bronze, 47" x 11" x 6"On Point 1
Poised 11Bronze, 15" x 7" x 4"Poised 11
Plexiglass, 10" x 14" x 12"Number 6
Dance 12Bronze, 9" x 7" x 5"Dance 12
Poised 14bronze, 8.75" x 10" x 7.5"Poised 14
Dance 21bronze, 7.5" x 7" x 5"Dance 21
stainless steel, 11" x 9" x 9"Poised 15
Folded Form 18stainless steel, 24" x 15" x 6"Folded Form 18
Torso 11bronze, 22.5" x 8" x 6"Torso 11
Number 3Plexiglass, 15" x 8" x 4"Number 3
Number 2Plexiglass, 18" x 16" x 7"Number 2
Mostly self-taught, Joe Gitterman attended among other schools the Pratt Institute, the new school and the art students league all in New York. He is currently sculpturing in Connecticut.
Joe Gitterman is greatly influenced by the human body, specifically the shapes, gestures, and momentary poses created by dancers. The lines of a dancer’s body are often the source of inspiration the he sets to capture in his work.
Through observation and sketches, he conceives a visual image of a motion and attempts to infuse that motion into three – dimensional material. His sculptures are an abstraction of gesture frozen in midflight.
The focus of Gitterman’s pieces are line, surface, and form. The properties are inherent in the material he chooses – whether marble, wood, plaster, clay, copper, sheet metal, bronze, aluminum and mirrored stainless steel and more recently, plexi – glass, guide him in the development of each piece.
Material is only one element to consider. Size, surface, texture and patina must combine to create balance, making the piece visually and spatially engaging.
The finished pieces are dazzling forms that speak to the viewer in a graceful language, colors and tones that meet burnished surfaces and edges that invite one deeper into the heart of the piece.
Gitterman’s work has been commissioned for private residences and commercial offices around the world.
Sails, knots, the movement of a dancer; these are the forms in motion that I attempt to replicate in my sculptures. With each series I examine the movements of a given form, such as the gesture of a dancer, or the billowing curve of a sail. I then take these moments and recreate them using a variety of materials. The result is an abstraction that hints at the possibility of movement.
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