The first sculpture I made was based off of the richness and excess that we can encounter in DS's films. Most protagonist women in the these films are quite wealthy or privileged and then have to deal with a tragedy getting in the way of their picture perfect life and from there figuring out how to overcome these challenges.
With the frail and precious oyster with as the symbol for the good life, femininity and fertility. Something disrupts this and changes the trajectory. In my sculpture I used the spiral to symbolize things going out of control.

The next sculpture I created touches on the symbols for relationships and romance and the expectations that are created for this in the DS narrative. It's the way the females in the novels totally surrender to love and sometimes loose themselves in the process and the comfort it brings but then also the complexity it can create for them later. We see in a way how life isn't a dance on roses as we say in danish "livet er ikke en dans på roser"

Bruce Sherman-Eyes and hands are particularly frequent among his figurative sculptures. “The eye has a lot to do with being aware of oneself and seeing; I’m hoping to tell a story visually rather than be didactic,” he says. He gestures to a figure with a tiny pair of eyeglasses and a cap covered in eyes, a sculpture he describes as a scholar, deep in thought. The hands, he says, stress the importance of prayer. “Working in clay is almost like a way of praying.”

This is evidenced by Sherman’s take on the mythological goddesses The Three Graces, which sees a trio of sculptures of cleaning ladies (one holds a small broom, two have tiny spray bottles). Or a past series, for which he created ceramic pieces inspired by the works of Jean Arp, and attached them to gold poles and stones. “Arp is very elevated,” he says, “my idea was to bring it down to Earth, so it’s ‘Arp on a Rock.’”