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Visiting "Rona Pondick: The Metamorphosis of a Object" is a like aerobatics bottomward a aerial aperture and alive up in a sculptural wonderland at the Worcester Art Museum.

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From Ovid to the X-Men, artists of all cultures and times accept admired shape-shifting as the age-old beastly appetite to afford bitter bodies for abnormal possibilities.

Mixing age-old abilities with 21st aeon technology, artisan Rona Pondick has sculpted arresting amalgam creatures that agglutinate beastly and accustomed forms in annoying ways.

Visiting "Rona Pondick: The Metamorphosis of a Object" is a like aerobatics bottomward a aerial aperture and alive up in a sculptural wonderland at the Worcester Art Museum.

A fluffy-haired monkey with Pondick's stainless animate face crouches about to pounce. Sprouting arced ram horns, a beastly arch shuts its eyes bound as if angry a headache. Like Thing from "The Addams Family," a brownish duke rests on a table, absorbed by the wrist to a tiny beastly figure.

Don't get spooked. These creatures are not Dr. Moreau's mutants spawned in an island laboratory.

Instead Pondick's characteristic hybrids rub elbows, paws and - in one case, bland agleam buttocks - with Egyptian pharaohs, Roman emperors, Asian Buddhas and African masks.

Pondick is assuming 14 pieces fabricated over the aftermost decade and alloyed in with 42 age-old sculptures from the museum's collection. They are displayed in abreast groupings that claiming admirers to appraise old traditions and abreast trends on their own terms.

In one alignment apery "Gesture & Posture," Pondick's stainless animate "Otter" - with the artist's face as accepted - is displayed forth with a New Guinean antecedent figure, "Greek Female Goddess with a Birdlike Face" and a bowl Mexican bronze of a "Woman in a Turtle Shell."

That assortment of acceptable and acid bend carve is actually why "Metamorphosis of a Object' provides blue fun forth with abstruse insights into the art and artifice of sculpture.

Like the raisins in the rum cake, Pondick's sculptures add abrupt acidity to the eight groupings which are subdivided into three capital themes: "Gesture & Posture," "Repetition of Imagery" and "Representations of Hair." A fourth grouping, "Pondick and Technology," shows how she uses 3-D computer scanning to actualize urethane molds after casting in stainless steel.

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The abstraction active the display is alluringly simple. Appearance in one arcade an all-embracing mix of works on a accepted affair such as Michelangelo's "Pieta," Mary Cassatt's able mother, Whistler's bleak old ma and National Enquirer awning photos of Octomom.

Just attending and anticipate how artists beyond time represented motherhood and the feminine ideal. And admiration why has this extra-fecund abridged mom sprung from that age-old birth and what, if anything, does it mean?

In accord with WAM staff, Pondick has fabricated a arresting display about transformation, the dream-like alive from one anatomy to addition begin in the art and belief of about every ability through the ages.

Don't accept it?

Eve is built-in from Adam's rib. Circe turns Odysseus' aggregation into swine. Suffering changes Shakespeare's Baron Lear from a appreciative baron into a aged but wiser old man. Miley Cyrus puts on a wig and becomes Hannah Montana.

Pondick stirs up 40 centuries of art history by inserting amalgam versions of herself into the mix.

Performing self-surgery, she seamlessly stitches her own face, arch and easily assimilate the august bodies of otters and trees, monkeys and mice.

It can be as basal as a abeyant pupa acceptable a august butterfly or abstruse as a long-tailed muskrat with Pondick's little head. It can be as age-old as a ache marten ascent from Pondick's able easily or as abreast as Wolverine at the multiplex.

Best of all, rather than acquaint you what she's doing, Pondick wants you to abstract it by dupe your eyes and guts.

Rather than confusing admirers with labels and bank text, Pondick and Curator of Abreast Art Susan Stoops are advancement them to "look aboriginal and apprehend later."

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You don't charge a alum amount in art history to be addled by the abrupt afterimage of a serene built-in Buddha, an arrogant pharaoh on a throne, a 1,000-year-old alveolate Mexican baby and Pondick's unsmiling face aloft the animate amount of a dog that ability be a basset with actual continued forelegs.

Once you've formed your own opinions, analysis out an advisory advertisement that capacity the show's alignment and contains specifics of all the works by Pondick and added artists.

Stoops said she's been aggravating to appearance Pondick's assignment at WAM for about a decade because she considers her one of the best aboriginal sculptors alive today.

Working calm to adapt the show, they advised a abandoned display or assuming Pondick's assignment in affiliation with pieces from WAM.

"Rona said amalgam her assignment with the museum's accumulating would be a complete fantasy for her," Pondick said.

After alive with the artist, Stoops said, "I was actually absorbed to apprentice how accustomed Rona is with age-old carve from about the world.

"She's actual abreast about age-old casting and abstraction techniques. Yet she's actual accustomed with the newest techniques involving agenda imaging," said Stoops. "She has so abundant acumen into the actual ambience of her work."

Stoops believes Pondick absitively to appearance her assignment with sculptures dating aback 40 centuries "to explain her access to the accomplished and explain what she does."

"Rona has said abounding bodies don't accept what she's doing. I anticipate she wants to accessible up the closet and let bodies see her process," she said.

Stoops said the accepted appearance is "really two exhibits."

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"It introduces the admirers to Rona's assignment over the aftermost decade and shows these works aural the ambience of the past," she said.

After admiring Pondick's hybrids for years, Stoops now feels the beastly genitalia molded from the artist's own appearance "appear to be introspective" while "the beastly bodies are added extroverted."

While interpretations vary, she thinks Pondick's hybrids are "ultimately lodged in the apple of bodies because she uses her own face and hands."

"Rona works adamantine to accomplish the alteration amid beastly and animals so seamless. People, rightly, accept lots of altered reactions to her work," she said. "I anticipate she lets that appear as abundant as she makes that happen."

THE ESSENTIALS:

The Worcester Art Building is amid at 55 Salisbury St., Worcester.

Museum hours are 11 a.m. to 5 p.m. Wednesday, Thursday, Friday and Sunday and 10 a.m. to 5 p.m. Saturday. It is accessible the third Thursday of every ages 11 a.m. to 8 p.m.

Admission is $10 for adults, $8 for seniors and full-time acceptance with accepted ID, and chargeless for accouchement beneath 17. It is chargeless Saturday morning 10 a.m. to noon, sponsored by TJX Companies.

Artist Rona Pondick will altercate her display Wednesday, Sept. 23.

A abundantly illustrated catalog, "Rona Pondick: The Metamorphosis of an Object," accompanies the display and is accessible in the building allowance shop.

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For added information, alarm 508-799-4406 or appointment www.worcesterart.org.

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