MATERIAL MATTERS
Mysterious
Menagerie
In A nne Lem anski’s hands,
fascinating materials become
spectacular creatures
.
s t o r y b y
M on ica M oses
PHOTOGRAPHY
Steve M a n n
TH E SEW IN G OF A N N E L E M A N S K l’ S SCU L P-
tural pieces is the most labor-intensive part
of her work. But it’s also the most thrilling,
because it’s when the animal figures she
makes come to life.
For the “skin” of her pieces, Lemanski
uses a fascinating array of materials: raw-
hide, vinyl, vintage paper, old photographs,
wood veneer, even serape cloth and panty-
hose. As she stretches a pelt over the skel-
etal framework of a piece, she watches a
sort of soulmate take shape. And she feels a
connection. “We are all animals,” she says.
“Wondrous and mysterious creatures.”
Recently, in the construction of her big-
gest, most fantastical creature yet, Leman-
ski used a new favorite material: Rowlux,
metallic-patterned plastic veneers typically
used on electric guitars, drums, and com-
mercial surfaces. Rowlux is the perfect
thickness for sewing, Lemanski says. The
downside? “I have to restrain myself from
making entire creatures of gold moiré, be-
cause I can,” says the 41-year-old, laughing.
A clear environmental thread runs
through her work. But as she was shaping
the copper-rod armature for her latest piece
-
21st Century Super Species: Jack-dor -
she
Opposite:
Senktvekwe
(detail)
2009; leather, archival
inkjet print on paper,
copper rod, artificial
sinew; 2(5 x 13 x 17 in.
Right:
21st Century Super
Species: Jack-dor,
2010
Rowlux, birch veneer,
copper rod, artificial
sinew; 8 x 10 x 4 ft.
Below:
Coyote,
2010
Mexican serape cloth,
copper rod, artificial sinew
25 x 49 x 11 in.
Left: Lcmanski’s
Jack-dor
communicates
through sheer volume.
The 8-foot sculpture
combines the head of a
jackrabbit, the torso
of a condor, and
powerful, equine legs.
