This two-thirds lifesized figure is one of two forays into allegory I've made out of personal interest, along with 'Glory'. I've always been a bit bored with traditional forms of allegorical representation in sculpture; usually, it's done using a semi-classical figure holding some attribute of the allegorical motif - i.e., 'Abundance' holding a cornucopia. I thought that allegories should actively reflect in the pose what they're meant to represent. In coming up with a solution, I realized that the motif might best be portrayed by illustrating its opposite; hence, the seemingly hopeless situation of the figure in this piece.

The bound and hooded figure holds a knife in her hand, and is shown in the act of cutting the rope and her wrist. The outcome of this scenario is intentionally left uncertain. The hood serves as a symbol of oppression, but its most important function in the work is to negate the individuality of the figure. Traditionally, sculptures have generalized or classicized faces to imply allegory, rather than a naturalistic face and expression, which might imply a particular individual within a narrative. The hood was my way of avoiding such classicism. The clay model was sculpted in 2003, and a copy in marble is currently underway.