Robert Pulley
Birth Date: 1948

Artist Gallery
Robert Pulley: Over the years, my work in clay has been a journey through evolving forms. My approach has been intuitive and visceral. I use improvisation and chance to discover subconscious responses to line and form. In current sculpture, some pieces are wholly improvised while others begin amid pages of randomly generated thumbnail sketches. Other pieces begin as small clay models which can be pinched, squeezed, stroked and slapped in the palm until an engaging form is coaxed out. Many of Pulley’s sculptures have strong references to the human figure and to gesture. He says of clay, It’s a real friendly king of medium. Here I am, playing with texture and form, planning, improvising…I look at these things and am just amazed at how good they make me feel. When I work on them, it’s almost like you can feel the shapes in your own body. You can feel sinews stretching. Robert Pulley: Over the years, my work in clay has been a journey through evolving forms. My approach has been intuitive and visceral. I use improvisation and chance to discover subconscious responses to line and form. In current sculpture, some pieces are wholly improvised while others begin amid pages of randomly generated thumbnail sketches. Other pieces begin as small clay models which can be pinched, squeezed, stroked and slapped in the palm until an engaging form is coaxed out. Many of Pulley’s sculptures have strong references to the human figure and to gesture. He says of clay, It’s a real friendly king of medium. Here I am, playing with texture and form, planning, improvising…I look at these things and am just amazed at how good they make me feel. When I work on them, it’s almost like you can feel the shapes in your own body. You can feel sinews stretching. Robert Pulley: Over the years, my work in clay has been a journey through evolving forms. My approach has been intuitive and visceral. I use improvisation and chance to discover subconscious responses to line and form. In current sculpture, some pieces are wholly improvised while others begin amid pages of randomly generated thumbnail sketches. Other pieces begin as small clay models which can be pinched, squeezed, stroked and slapped in the palm until an engaging form is coaxed out. Many of Pulley’s sculptures have strong references to the human figure and to gesture. He says of clay, It’s a real friendly king of medium. Here I am, playing with texture and form, planning, improvising…I look at these things and am just amazed at how good they make me feel. When I work on them, it’s almost like you can feel the shapes in your own body. You can feel sinews stretching.