Other patrons of the arts agreed with Jones, like Dick Carlson, of Norman, who said he hadn’t seen anything like McHorse’s work before.
By sketching the forms of her work on a blackboard before touching the clay, her pieces may evolve but end up much like they are first imagined, Clark told to attendees.
Movement is a big part of McHorse’s’ sculptures. Clark said everything in her work moves such that it is primordial, a movement of nature.
“Her shapes are determined by enlisting and abstracting, the same way water and air shape the Southwest landscape,” Clark said.
McHorse’s work “Nautilus,” for example, expresses an inner lightness that one can feel as the light passes through the negative space of the coil at the top. Clark said contemporary ceramists see McHorse’s work as modern sculpture similar to Magdalene Oduno, an influential ceramic artist out of London.
“The first impact of the work is the dynamics she uses. Ethnicity is but an echo,” Clark said and went on to suggest that McHorse’s exhibit implies she has just begun to push the limits of the kiln.
Even though McHorse has only cast one piece in bronze, she has not allowed clay or tradition to define her work and in the future something more may develop, Clark said.