exhibitions throughout the United States: New York, Philadelphia, Ft. Lauderdale, Miami, Chicago, Los Angeles, and New Jersey. Abroad, her work has been seen at the Arco International Art Fair in Madrid, Spain, as well as in galleries in Stockholm; London; Yehud, Israel; and Leverkusen, Germany. Currently, she is represented by Left Bank Gallery in Dove Canyon, California, where she had a solo exhibition in early 1998. Later that year, she had a one-woman exhibition at Ross Watkins Gallery in Palm Desert, California, where she is also represented.

Pinsker’s intensely personal style of sculpture attempts to reconcile the human with the divine in a panorama of metaphors and characters drawn from the Bible and mythology, as well as from the artist’s own emotional land scapes. Six series have dominated Pinsker’s career. In succession, these are: 1) Abstract/Figurative, Pinsker’s earliest sculptural forms; 2) The Gordian Knot, solid geometric configurations which appear both confounding and sensual as interlocking masses of either marble or bronze; 3) Other Realities, a series that explores different levels of reality; 4) Metamorphosis, a dramatic series of larger, bulbous-shaped works that look into the mysterious evolution—from the void to man; 5) Constructions, works representing her dramatic shift from volume to a distinctive linear geometry; and 6) Windows, Pinsker’s most recent scale models designed for public places where people can walk in, around, and through the sculptural elements.

Prior to her sculpting career, she was president of Essie Pinsker Associates, Inc., an advertising and public relations agency, from 1960 to 1982. Before that, she was the sports wear editor for Women s Wear Daily. She was also press director for Leopold Stokowski and the American Symphony Orchestra and served as an instructor at the Fashion Institute of Technology. In 1975 she produced and curated the Cranston Print Museum in Cranston RI, based on printing throughout the ages. At different periods, she was a buyer for Ohrbach s and Arkwright, Inc., the fashion, beauty, and travel editor for The Woman Golfer, and a contributing writer for the New York Times. She also received the Cine Eagle Award as executive producer of the film Pupae.

Reviewing her many successful fields of endeavor, Essie Pinsker s credo is You Can If You Want.  Accordingly, when she sold her advertising agency in 1983 in order to devote her life to making sculpture. Her mission and purpose were clear: I decided I wanted to die an artist, not an efficient business machine,  she says. Her career as an artist has moved at a rapidly rewarding pace ever since. Aparticularly gratifying anecdote to her philosophy of intention is how it rubbed off on the lives of her two chidren, both of whom have enjoyed stimulating careers.

IN THE WORDS OF THE ARTIST
My dialogues with stones and steel fire my creative juices. And playing with pieces of clay can carry me from an abstract line into a direction that takes hold until images emerge and take form. This is the moment of truth, the ultimate in letting the creative force take over. The moment when you become a vehicle for the infinite. In my work, I am drawn to strong materials, swelling masses and deep voids. I find the majesty of stone inspiring, the power of steel riveting and the beauty of bronze enduring. Sculpting is an obsessive, arduous process where exhilaration and doubt are ever present. I continue working, watchful for the creative spark that will push the piece forward and look for the moment when I can still the human need for resolutions and let intuition propel me. ce.