The Starett Lehigh Building, New York, NY, 1994
Almost Alive Exhibition, Kunsthalle, Tubingen, Germany, 2018
1/3, 1981, 32 x 38 x 7 in (81 x 38 x 17 cm), Oil on Resin, New York, New York
1/8, 1984, 17 x 32 x 15 in (41 x 81 x 38 cm), Oil on Resin, New York, New York
1984, when my artistic sensibilities were profoundly impacted by the sight of immigrants bravely floating from Cuba to Key West, Florida in search of a better life. Moved by their struggles and their quest for freedom, I channeled my creative energy into the creation of a sculpture that would encapsulate their harrowing experience. Thus, Innertube was born - a poignant portrayal of a woman, fatigued and covered in grime, as if she navigates the treacherous waters in her pursuit of liberty. Through this sculpture I sought to give voice to the plight of immigrant’s who risk everything to reach the promised land of freedom.
1/9, 1981-2017, 30 x 20 x 11 in (76 x 50 x 27 cm), Oil on Resin, Swarovski Crystals, New York, New York
here you see a girl fresh out of the water. She was inspired by the crystal waters of the island of Capri, in Venice, Italy.
1/8, 1988, 31 x 21 x 14 in (78 x 53 x 35 cm), Oil on Resin, New York, New York
1/3, 1988, 18 x 18 x 11 in (45 x 45 x 11 cm), Oil on Resin, New York, New York
This is a portrait of my grandma Rose and the special relationship she has with her grandaughter.
1/9, 1990, 30 x 20 x 11 in (76 x 50 x 27 cm), Lacquer on Epoxy with Crystals
2/3, 1981 - 1989, 37 x 23 x 37 in (94 x 58 x 94 cm), Oil on Resin, Paper, Brush, Hair, and Wood, Bass Museum of Art, Miami, Florida
This is a self portrait of me working in my art studio.
1/8, 1984, 18 x 9 x 7 in (45 x 22 x 17 cm), Oil on Resin
One of my favorite things is snorkeling. I made this in 1984. This was what a woman wore in those days.
1/9, 1981, Resin and Oil, Glass, Face: 4.5 × 5 × 3.5 in, Left Hand: 5.5 × 3.5 × 4.5 in, Right Hand: 4 × 6 × 5.5 in, Legs: 18 × 8 × 8 in
When I asked a five year old to pose for me, she said I could only cast her knees. Eventually she warmed up and let me cast her hands. When I tried to do her face, she said, I could only cast her lips. I put her parts together and I think of it as Carole’s Magic Bubbles.
Collection of the artist
1/8, 1984, 38 × 36 × 13.50 in (96.52 × 91.44 × 34.29 cm), Resin and Oil, Hair, Rope
This sculpture is a rendition of a girl having a special day, waterskiing.
After my sensual fragments, I chose my next series to go the opposite direction: recreational sports. Water Skier was created along with my recreational sports pieces in the 1980’s as I was exploring more life-casting and making my pieces bigger. Water skiing involves lots of movement in the body while keeping balance but it’s also very fun.
1/9, 1985, 75 x 21 x 21 in (50 x 30 x 53 cm), Oil on Resin
A chance meeting or event is one that is not planned or expected. ... a chance meeting. Call it coincidence, destiny, fate, kismet—in one moment, lives can collide and change forever. Yet chance encounters aren't necessarily accidental; there are no accidents.
2 a/p, 1989 - 2018, 27 x 19 x 13 in (68.6 x 48.3 x 33 cm), Oil on Resin, Collection of Carol Wolowitz
Self-portraits aren’t new in the art world; it is thanks to the self-portrait ‘culture’ that the selfie exists. In a way, self-portraits are the oldest version of the selfie. But why do artists make self-portraits?
4/4, 1981 - 1996, 24 x 19 x 12 in (61 x 48 x 30 cm), Oil on Resin
I saved my saddle from when I was a young girl and cast a woman on t without the horse.
1/6, 1981, 17 x 30 x 14 in (76 x 43 x 35 cm), Oil on Resin
Everyone asks me if this is me? I won’t tell?
1/6, 2013, 37 x 42 x 66 in (94 x 107 x 167 cm), Lacquer on Epoxy, Palazzo Bonaparte, 2025
This sculpture is special because it’s the only time sculpted a pregnant woman. It symbolizes a blend of classical beauty and the complexities of femininity and motherhood. It suggests themes of creation, nurturing, and the duality of art. It is also good luck.
1/6, 2008, 26 x 18 x 8 in (66 x 45 x 20 cm), Lacquer on Epoxy
"Moran" can mean "spear," symbolizing the strength and courage I wanted this sculpture to convey.
3/9, 1998 - 2011, 46 x 28 x 38 in (116 x 71 x 96 cm), Oil on resin, Hair, Glass, and Chair, Medici Museum of Art, Warren, Ohio
1/9, 1996 - 2005, 92 x 46 x 13 in (91 x 50 x 12 cm), Oil on Resin
1/1, 1997, 26 x 16 x 19 in (66 x 40 x 48 cm), Oil on Vinyl
5/6, 2008 - 2011, 21 x 23 x 21 in (53 x 58 x 53 cm), Oil on resin
1/8, 2008 - 2022, 26 x 16 x 8 in (66 x 41 x 20 cm), Oil on resin
The General is a man who parks cars in a parking lot near my home. His name is General Ragin. I have known him for 25 years and saw how the birth of his daughter changed his world. She was a gorgeous baby and lit up his life. When I met the infant, I knew that I wanted to make a portrait of her. I waited until she was three and a half years old. When I tried to model her face, she could not sit still. She was too young. I watched her grow up, waiting until she was old enough to pose for me again. When she was 16, she came to me for her portrait. I was able to capture that special moment when she changed from a young girl to a young adult, the “General’s Daughter”.
The General is a man who parks cars in a parking lot near my home. His name is General Ragin. I have known him for 25 years and saw how the birth of his daughter changed his world. She was a gorgeous baby and lit up his life. When I met the infant, I knew that I wanted to make a portrait of her. I waited until she was three and a half years old. When I tried to model her face, she could not sit still. She was too young. I watched her grow up, waiting until she was old enough to pose for me again. When she was 16, she came to me for her portrait. I was able to capture that special moment when she changed from a young girl to a young adult, the “General’s Daughter”.
1/6, 2009, 62 x 37 x 29 in (157 × 94 × 74 cm), Oil on Resin
1/3, 2008, 19 × 20 × 10 in (48 × 51 × 25 cm), Oil on Resin
1 a/p, 2011 - 2018, 36 x 26 x 17 in (91 x 81 x 45 cm), Lacquer on Epoxy
My sculpture Balance is in the form of a woman who is sitting in a very balanced position with each hand cupped on her knees to symbolize the scales of justice. It represents her duty to restore balance to society.
My sculpture Balance is in the form of a woman who is sitting in a very balanced position with each hand cupped on her knees to symbolize the scales of justice. I tried to create a woman who was not just beautiful but balanced as well. To me she represents a universal woman reminding us to restore balance to society.
6/6, 2011 - 2022, 20 x 14 x 8 in (50 x 35 x 20 cm), Oil on Resin
1/6, 2013, 46 x 27 x 32 in (116 x 68 x 81 cm), Lacquer on Bronze
3/9, 2013, 17 x 32 x 15 in (43 x 81 x 38 cm), Lacquer on Epoxy, New York
Innertube Variant II is an Alternative Version of Survival of Serena.
I visualized a swimmer alone in the water … I saw her serene and tranquil… at peace….
This tranquil swimmer resting in a dripping inner tube offers the public the opportunity to pause, even just for a moment, engaged and inspired by what stands before them. At first glance you see a moment frozen in time. Upon closer examination, she exceeds the bounds of mere mimicry to become a larger-than-life symbol that invites us to consider our physicality and our own stories.
1/6, 2014, 72 x 19 x 14 in (183 x 48 x 34 cm), Lacquer on Epoxy
Queen Christina of Sweden was not yet twenty when she and took a lively interest in the arts. In my sculpture, we see her taking a moment of self-reflection. She looks confident and satisfied. She had a blazing vitality, intelligence and wit that made her the wonder of Europe.
Unique, 2014, 82 x 30 x 27 in (208 x 76 x 68 cm), Lacquer on Epoxy with Stainless-Steel
1/3, 2014, 42 x 80 x 90 in (107 x 203 x 229 cm), Lacquer on Epoxy with Gold Leaf and Crystals, Collection of Conrad Hilton Hotel, New York, NY
The title alludes to the Greek myth where Zeus, in the form of a swan, seduces or assaults Leda.This portrayal of her resting comfortably suggests a reimagining of the myth, emphasizing agency, comfort, or acceptance rather than the original narrative of violence. The position of Leda atop the swan symbolizes a reversal of power dynamics, indicating her strength and control in a situation often depicted as one of victimhood.
1/6, 2016, 70 x 28 x 30 in (177 x 71 x 99 cm), Lacquer on Bronze with 24K Gold Leaf
In 2014, I created Yaima and the Ball, a hyper-realistic sculpture that is as much about athleticism and strength as it is about dependency. In real life, Yaima was an Olympic volleyball player from Cuba. After a bad accident and shoulder surgery, I had her pose, leaning on the ball that she used to play with. Although she is portrayed leaning, she still stands tall, towering over the viewer with both presence and dominance. She is solid and muscular, commanding the space she resides in, and the same time within this immense confidence and strength she displays, she must lean on the ball and pedestal to give herself balance and stability. We must all lean at one time or another, and that ok.
1/6, 2016, 39 x 54 x 50 in (99 x 137 x 127 cm), Lacquer on Bronze with Stainless-Steel
Finding a moment of relaxation during times of stress. The physical sense of being at peace derived from the act of submerging in water suggests the importance of an ordinary and universal activity.
Unique, 2014, 64 x 46 x 34 in (162 x 116 x 86 cm), Lacquer on Epoxy with Hair
1/6, 2017, 33 x 18 x 36 in (83 x 45 x 91 cm), Lacquer on Epoxy with Crystals
1/8, 2016, 51 x 21 x 32 in (130 x 53 x 81 cm), Lacquer on Epoxy with Gold Leaf
1/8, 2018, 34 × 42 × 22 in (86 × 106 × 56 cm), Lacquer on Epoxy
This sculpture depicts a woman in a thoughtful pose that invites viewers to reflect on themselves. In our busy everyday lives, it’s important to take a moment to pause and consider their own experiences and feelings. We all must remember to take time for ourselves.
1/8, 2017, 53 x 22 x 40 in (135 x 56 x 41 cm), Lacquer on Epoxy with Champagne Gold Leaf
The Midpoint is a sculpture created to capture the moment a young lady becomes a woman, caught in a moment of contemplation about the future. I tried to capture a significant time in a young lady's life.
2019, 51 x 26 x 28 in (130 × 66 × 71 cm), Laquer on Resin
The Thinker is a bronze sculpture that I made in 2019 that was exhibited during the 2019 Venice Biennale. He sits on a high steel pedestal so the viewer can look up at the sculpture from all sides. The Thinker is a depiction of the existence of every human being because “We are all thinkers”.
The work shows a male figure of heroic size absorbed in thought. He represents the creative mind at work. Although the figure is seated, he is not at rest. As with all art and literature, the meaning of this sculpture is open to interpretation. The Thinker, however, can be interpreted as a highly introspective moment in the life of a person. Here is someone who is more than just conscious. He is struggling with a problem, cognitively trying to get from A to B. He makes us question the experience of thinking; what it seems like from the inside? The contemplative look of The Thinker gives this sculpture a feeling of calm and yet this piece is by no means a frivolous or relaxed piece. The figure depicted is so full of masculine force and energy. He has the muscles to move mountains, so to speak, but he is caught up in passivity because, by all indications, he is lost in thought.
1/8, 2024, 85 x 26 x 21 in (215 x 66 x 53 cm), Lacquer on Epoxy, Heydar Aliyev Center, Baku, Azerbaijan,
Catch is one of my swimmers that stands out because it has more motion and energy. It embodies themes of joy, connection, and empowerment, inviting viewers to reflect on the playful aspects of life and the importance of relationships.
1/8, 2018, 65 x 24 x 24 in (165 x 60 x 60 cm), Lacquer on Bronze
The red hat, made of resin, looks particularly real and can come out of her hands revealing a meticulously painted resin bathing suit. It is tromp l’oeil at its finest. if you love art, you’ve surely come across the term trompe l’oeil. defined simply by explaining that the words are French for “fool the eye,” With the Girl with the Red Hat , we see an exotic sculpture, because it suggests to the viewer that the girl is nude, and yet, she is wearing a bathing suit. It has immense visual impact, powerful coloring and boldness. Placed in the center of the booth at Art Miami , it is highlighted by Michelangelo Bastiani’s backdrop of projected falling waters.
1/8, 2022, 48 x 33 x 40 in (121 x 83 x 101 cm), Lacquer on Epoxy with Swarovski Crystals
1/8, 2022
48 x 18 x 26 in (121 x 45 x 66 cm)
Lacquer on Epoxy
Rome, Italy
This sculpture is my answer to the storm of Covid19 that we have been living with for the past two years. It was my response to how to get through my life when things got challenging. I always try to remain calm by contemplation and meditation.
1/8, 2021, 23 x 17 x 14 in (58 x 43 x 35 cm), Lacquer on Epoxy
1/8, 2021, 60 x 24 x 40 in (152 x 60 x 101 cm), Lacquer on Epoxy with Crystals
The name Kendall, meaning “valley of the river,” carries a symbolism that resonates deeply with my sculptural practice. Just as rivers shape valleys over time, water has been a central force in my work—transforming the human figure into a vessel of resilience, renewal, and memory. My swimmers, poised between immersion and emergence, embody the same duality: strength carved by vulnerability, permanence born from fluidity. The river suggests constant movement, while the valley offers sanctuary, mirroring the tension in my sculptures between fleeting sensation and lasting form. In this sense, Kendall becomes more than a name—it is a metaphor for the dialogue between water and body, survival and serenity, that defines my art.
The name Kendall, meaning “valley of the river,” carries a symbolism that resonates deeply with my sculptural practice. Just as rivers shape valleys over time, water has been a central force in my work—transforming the human figure into a vessel of resilience, renewal, and memory. My swimmers, poised between immersion and emergence, embody the same duality: strength carved by vulnerability, permanence born from fluidity. The river suggests constant movement, while the valley offers sanctuary, mirroring the tension in my sculptures between fleeting sensation and lasting form. In this sense, Kendall becomes more than a name—it is a metaphor for the dialogue between water and body, survival, and serenity that defines my art.
1/4, 2021, 40 x 15 x 13 in (101 x 38 x 33 cm), Lacquer on Epoxy with Gold Leaf
1/8, 2022, 66 x 17 x 30 in (172 x 43 x 76 cm), Lacquer on Epoxy with Gold Leaf