Edith Disler

Read from left to right, this triptych portrays the journey from recruit to PTSD. On the left, a shiny, enthusiastic recruit is portrayed with a steel plate and glass float floating above smooth cartridge brass, toughened by basic training. In the center, we see the individual embedded in the organization, as portrayed by a section of ammunition can, floating above dented cartridge brass. On the right, our individual has pierced the ammo can, like a shot, with significant denting in the cartridge brass below. The entire triptych is affixed to a pine board: representing the fact that the lost are returned in a pine box.
This sculpture represents the strain of forcing the organic shape of the oak to fit the artificial rectangular shape, thus representing the stress felt by members of the military when they must adapt to the restrictions and demands of a military life. In the sculpture, the glass float at the top overflows the boundary, depicting the reality that no human can fit perfectly and entirely into the strictures of military life. In the military member, the dissonance strains physical and mental health.
Two elements in this piece are significant. One is the repetition of the steel marquis shape. I cut each of these shapes by hand, so though each of these appears similar, each is indeed at least slightly different. This, to me, recalls military basic training, in which unique individuals are made to resemble one another, in a sense, through the uniform, grooming, weight, and fitness standards. Yet, all individuals must retain their uniqueness for the whole organization to be strong and effective. Also important is the sequence of the glass spheres which are graduated in color and in size, showing the cycle -- and all of life is full of cycles.

About Edith Disler

Retired Veteran – Air Force 1984-2009

After 25 years in the Air Force, followed by eight years of struggling to gain some footing in the civilian world, I decided to occupy the rest of my productive years with metal art.  This journey began in 2017 and came from some deeply recessed curiosity about the medium.  Metal holds unlimited potential in shape, scale, and expression; it may be tiny or large, displayed indoors or out, and it may be representative or impressionistic.  As a veteran and an artist, I find that there is discovery in the design, therapy in the doing, and satisfaction in the completion.

Given my long career in the Air Force, military themes find their way into my work — usually inconspicuously, but sometimes overtly.  You will often (usually) find glass spheres — commonly known as fishing floats, because of their function in floating fish nets — in my work.  These, to me, represent humanity — shaped through heat and trial, serving a purpose, then potentially falling to the bottom of the ocean, once again becoming sand, full cycle.  You may also find repeated shapes which are hand cut, so, though they look alike, no two are exactly the same; reminiscent of basic and military training, which produces people who may look alike, but are distinctly individual.

Artist Statement

Foremost, when I concentrate on what I am making, I am able to calm my distracted mind by focusing on creating. If I am lucky, the act of creation will bring new discovery about the work, myself, or even something more abstract.

By the time a sculpture, in particular, is finished, it has done for me what it needed to do — the therapy and the personal discovery are in the act of creating. Being able to share the finished work is also fulfilling and will, with any luck, bring insight and discovery to its viewers, as well.

 

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