BELLINGHAM, Wash. --- Scarlett Kanistanaux, a 1981 graduate of Western Washington University, was a much-decorated field hockey player for the Vikings culminating with her 1992 induction into the school's Athletics Hall of Fame.
 
 She earned second-team Mitchell & Ness Sporting Goods All-America honors and received a Broderick Sports Award in 1979. That year, Western   reach the Association for Intercollegiate Athletics   for Women Region 9 championship game.
 
 Kanistanaux played on the silver-medal winning West team at the 1979 National Sports Festival. She was an alternate on the U.S. squad readying   for the 1980 Olympic Games, which the country   later boycotted.
 
 An art major at Western, Kanistanaux graduated in 1981 and traveled to Atlanta, Georgia, to paint billboards. In 1996, the Summer Olympic Games   took place at Atlanta and one of the billboards she   was contracted to paint featured Olympic swimmer Janet Evans.
 
 Kanistanaux then moved to Colorado to honor her 'devine calling.' She found herself sculpting what she considered to be 'sacred art,' a series of   clay portraits of monks and nuns from the Buddhist   tradition. She introduced this series of sculptures to the public during the spring and   summer of 2010.
 
 Gallery owner Sandy Sardella discovered Kanistanaux's art and made the decision to finance the casting of the clays into bronzes. Sardello's Pismo Fine Art Glass Gallery participates in some of the   most prestigious art venues in the nation. Consequently, Kanistanaux's sculptures found their way to collections worldwide.
 
Born in Davenport, Iowa, Kanistanaux moved to Auburn, Washington, and graduated from Auburn High School in 1976. She lettered in volleyball, track and basketball for the Trojans while maintaining a 4.0 (4.0 scale) grade point average. She played on a club field hockey team in Tacoma that captured the state title.
 
At Western, Kanistanaux lettered and started four years, and was team captain three seasons. As a freshman, she played on a team that qualified for nationals. Kanistanaux scored four goals as a sophomore, four as a junior and 12 as a senior left link in 1979.
 
The Vikings, who had placed third among 16 teams at the Pacific Northwest national qualifying tournament in 1978, beat Idaho, 4-2, to reach the 1979 AIAW regional title contest where they lost to Boise State 4-3 in a game that went into two overtimes and was decided on penalty flick offs, 12-8.
 
In Her Own Words … Scarlett Kanistanaux
 
"Row, row, row your boat
Gently down the stream.
Merrily, merrily, merrily, merrily
Life is but a dream."
 
Art, athletics.  Athletics, art.  As a child I reveled in both without preference. Run, jump, climb. Draw, paint, sculpt. Easy and fun.
 
In 1968, when I was eleven years old, I caught the Olympic bug. There were local gals, members of the Angels Track Club, who were featured in the newspaper. Some of them went to the Olympics that year. I just knew it was my destiny to join that track club. My mom agreed to drive me to the practices.
 
 It was the start of the fanatical journey of rigorous discipline, dedication, and training required of all who   choose such lofty dreams.
 
 I became goal driven in every aspect of my life. A seventh grade teacher told me I had to get straight A's in   order to get into college. I believed her.
 
 I scheduled my days to start at 4:30 a.m. No matter the weather, I never missed my morning run down at   the river, nor the training at the track after school.   Bedtime was 8:30 p.m.

 Mom showed occasional concern about my fanaticism. However, since I was the middle of five children, it   soon became easy for her to overlook my zealous   focus. I was going for my dreams, after all. 
 
 My dad, although no longer living with us, was enthusiastic and supportive of my athletic endeavors.   When I announced that I wanted to try the hurdles, he   surprised me by making me a set of regulation   size hurdles. Then he taught me how to visualize for 'peak performance.' I use visualization to this day.
 
 Although there were plenty of ribbons and metals won during my years with the Angels Track Club, I finally realized that running track was probably not going to   get me to the Olympics. So, once it became impossible for my mom to take me to practices, I set my dream aside and imagined what might be next. Art?
 
 In the eighth grade, a teacher bought me some clay and I created my first real sculpture. It was a bust of Chief Joseph. It seemed effortless and everyone loved   it. That was the first time I would hear an inner voice whisper, "This is what you are supposed to do."
 

During those years, I also had my first of many spiritual awakenings…the knowing, within the deepest part of me, that a loving, compassionate divine being was with me. This connection has stayed with me throughout the ups and downs of my life as an athlete, as an artist, and as someone simply trying to figure it all out.
 
When I got to high school, my heart raced when I found out a ceramics class was offered. The ceramics teacher, Ron Carson, seeing my potential, actively encouraged my wheel-throwing obsession. I loved working with clay so much that I chose to forego sports one semester so I could practice throwing pottery after school.
 
During my senior year, I learned that art could give me an income. Sharing Mr. Carson's pottery booth, along with a couple of other kids, I sold my wares at the Fremont Art Festival in Seattle.
 
That year I was also paid to paint a number of signs and banners. My art teacher, Mr. Cecil Jones, had been a billboard painter before becoming a teacher. He taught me about lettering. I went on to paint signs throughout my college years, helping to supplement my student loans.
 
Hand lettering became my go-to moneymaker, eventually leading me to a fantastic career as a billboard painter. Thank you Mr. Jones…how uncanny that I ended up following in your footsteps.
 
High school also introduced me to a number of new sports. I tried most of them, but the one sport that captured my heart was soccer. Compared to the court sports, the field of play was massive. I felt free and unrestrained. My younger brother, Darron, already an avid and proficient soccer player, taught me the most important moves.
 
During my final year in high school, a graduate of Western Washington University, Nancy Zehnder, came to teach and coach at Auburn High School. Ms. Z went on to become an award-winning coach in multiple sports. One day Ms. Z said to me, "Since you like soccer so much, I think you would really get a kick out of playing field hockey".
 
I decided to give it a try. I joined a weekend field hockey club consisting mainly of post-college players. It was hard for me to believe a sport could be more fun than soccer, but it was! I loved everything about field hockey. Thankfully, it turned out I was a natural.
 
Some of my teammates were alumnae of WWU. They encouraged me to consider Western. Not only did Western have a great reputation for turning out excellent teachers, it also had a competitive women's field hockey team. I was convinced.
 
As luck, or destiny, would have it, Western had just hired new two coaches for the field hockey program; head coach Joan Armstrong and assistant coach Marie Sather. 
 
Joan Armstrong was a serious, no-nonsense type who had a passion for the fundamentals in both skill development and game strategy. She had a strong drive to win. Oh, and you had better be in shape. Right up my alley!
 
Light-hearted Marie Sather became an instant inspiration. She was a wonderfully spontaneous player with great technical precision. There was something else quite special about Marie. It turned out that Marie was a member of the U.S. Women's Field Hockey Team. My Olympic dream was suddenly alive once again. I knew, without a doubt, that field hockey would take me there. 
 
 I earned my degree in art education, but I must admit that a significant amount of my time and focus at Western was   consumed by my quest to earn a spot on the U.S.   Women's Field Hockey Team. I even interrupted my education for a   couple of quarters in order to train full time.
 
 Summer tryouts for the U.S. team were conducted through a progressive series of selection camps. The goal of most   athletes was to learn as much as possible and to survive   each of the elimination cuts along the way. We all hoped to   make it to the final camp held at the Olympic Training Center in Colorado Springs. There we would compete   alongside   the current U.S. team members for a coveted place on the team. Admittedly, it was quite a challenge, but not impossible. 
 
 The summer of 1979 would be my last opportunity to land a spot on the team in order to be eligible to compete for a   place on the Olympic squad. I relentlessly pushed myself   to be a standout player throughout those summer tryouts,     including successfully competing toe to toe with the U.S. team members at the Olympic Training Center. I was   stunned   when my name was not called during the final team selection announcement. Being named as an alternate to the U.S.   team was the closest I was able to get that   year.
 
 My dream was dashed and my heart was crushed. A few weeks blurred by. Then, unexpectedly, I received a welcomed   phone call from our legendary head coach Vonnie   Gros. "I am personally inviting both alternates to come and compete   for a spot on the Olympic team," she said. "I am pushing for an exception here. Work hard. I am counting   on you!"
 
 I instantly reconnected to my dream and my funk dissolved. I began to train again in earnest. Unfortunately, as quickly as it had reappeared, the dream was gone again. Just   weeks before the tryouts were to commence, a committee decision was handed down. Unless a current U.S. team member dropped out, alternates would not be allowed to try   out for the Olympic team. So that was that, it was out of Vonnie's hands. The irony is, even had I earned a place on our 1980 Olympic team, boycotting of the Moscow   Olympics snatched the Olympic dream away from every U.S. athlete that year.
 
 No matter, I was not giving up on my dream. I began training with the University of Washington men's field hockey club as the only female teammate. The guys were   fantastically talented. Some had played on national teams from their respective countries. Soon after I joined, I decided to change my position from midfield to forward. One of the players, Trevor Fernandes, a tremendous athlete with phenomenal stick handling ability, agreed to teach me. (Trevor went on to play in the 1984 Olympic games as a member of the men's U.S. Field Hockey Team.) I was excited about the new skills and experience I would be able to bring to the U.S. tryouts.
 
It was with these men that I was to play my final field hockey game. A men's touring team from the British Isles came to the UW to play our club team at Husky Stadium. I have often wished there had been video footage of that game. I played the best field hockey of my life. The experience was 'other worldly.' It was far more intense than the euphoria of a runner's high or the exhilaration of being in the flow, both of which I had experienced numerous times over the years. In reflection, I believe it was a parting gift, given to me by the divine. At the conclusion of the game I found myself excitedly surrounded by the guys from the visiting team. "We have never seen a woman play like that. You must be a member of the U.S. team.  How did you do that? You played just like a man!" (Well, I did run circles around them.) It was an overwhelming experience.
 
Unfortunately, or fortunately, the next week, during the last few minutes of our practice, I suddenly found myself sitting on the ground. My ACL (anterior cruciate ligament) had inconveniently detached. I knew instantly that my field hockey dream was over. And the still voice inside gently reminded me, "You are supposed to be sculpting." Evidently, I needed divine intervention in order to make me finally give up my Olympic dream. Still, I felt defeated and lost.
 
A concerned friend invited me to come to Atlanta, Georgia, in order to regroup and start again. I accepted the offer. On my way to Atlanta I spent time in Colorado reconnecting with some of the friends I had met during my field hockey tryout days. During my stay I was invited to tag along to one of the largest and most esteemed sculpture shows in the nation being held just up the road in Loveland. I was overwhelmed and inspired by the talent. Again, my heart raced. "This is what you are supposed to do with your life."
 
Eventually, I settled in Georgia, but knowing one day I would make my way to Colorado. In the meantime, I fell back on my go-to moneymaking skills. I started out painting commercial signs, but soon switched to hand painting billboards. The sensation of going from small to large, from indoors to outdoors, was similar to what I had experienced when I left the court sports to participate in the full field sports. I loved the freedom. Painting billboards was an athletic and artistic endeavor. It was physically challenging, fun, and rewarding. Being highly driven, I quickly embraced a career that eventually spanned thirteen years.
 
The brother who taught me how to play soccer once observed, "Scarlett, you do your life in such an intense way. You seem to get what you think you want, but unfortunately, you have left no room for the magic."
 
He was right. Throughout the years between the end of my field hockey dreams and the beginning of my sculpting dreams, my connection to the 'magic of life' had diminished. Knowing my life was out of balance, I began seeking guidance from all of the self-help teachings of the day, yet I could not find the ease and flow I was looking for. I may have been rowing my boat, but it seemed like I was continuously rowing against the stream. I was exhausted in every part of my being. There was very little merrily to be found.
 
During those years, while up on some billboard, I would hear the message again, "You are supposed to be sculpting." It would come at the strangest moments. The message started coming to me more and more frequently until I finally surrendered to it.
 
It was 1996 and the Olympic summer games had arrived in Atlanta. One of the billboards I had contracted to paint that week featured Olympic athlete Janet Evans. From this billboard I could see the fireworks sparkle across the sky. The Olympic Games had officially commenced. With tears running down my cheeks, I stood on the catwalk in reflection. The collective wave of sorrow, which pours through everyone who has ever lost a dream, washed over me. 

 

Yet, even in that painful moment, I was able to celebrate the young dreamers who had made it. The stadium was filled with hopeful athletes from around the world, all living their own personal Olympic dream. The moment was a cathartic release of all that had been lost in my own life. At the same time, it became a tentative embracing of everything that was still possible.
 
I always found it fascinating when people proudly declared, "I wouldn't change a thing about my life. It has made me who I am today." They must have figured out, early on, how to row their boat gently down the stream. I, on the other hand, do have regrets. If it were possible, I would humbly ask for a redo on a number of my life choices. I am grateful that I was given the grace to continue on and have another go at it.
 
I sold my Georgia home and moved to Colorado. I was ready to honor my divine calling. I hoped I had not waited too long. 
 
Once I finally said yes to sculpting, everything began to slowly unfold. It was not too late after all. I knew I wanted to create sculptures that could spark some kind of personal healing and further spiritual awakening in myself, and maybe in others as well. 
 
I found myself sculpting what I consider to be 'sacred art.' I sculpted a series of clay portraits of monks and nuns from the Buddhist tradition. As people looked into the faces of these clay messengers, I was hoping there would be a felt sense of connection, acceptance, compassion, and love.
 
I introduced this series of sculptures to the public during the spring and summer of 2010. Divine magic was everywhere: a practicing Buddhist monk serendipitously found himself in the midst of my sculptures. After sitting with the sculptures in meditation, he offered a blessing and said, "Please, continue to make your art;" looking into the faces of several of the sculptures, a young daughter of a dear friend turned and said, "Mama, all of these Jesus(s) are smiling," a woman, unabashedly weeping before a sculpture I had named 'Loving Compassion,' responded repeatedly with, "I know this one, I know this one."

 

Soon destiny would send another blessing my way. Gallery owner Sandy Sardella discovered my art. Believing in the uniqueness of my sculptures, Sandy made the generous decision to finance the casting of my clays into bronzes. Sandy's Pismo Fine Art Glass Gallery participated in some of the most prestigious art venues in the nation, significantly expanding the exposure of my work. Consequently, my sculptures have been added to collections worldwide, making it possible for my art to go from unknown to known.
 
Over the past dozen or so years, my sculptures have earned a number of prestigious awards and honors. This year, a sweet clay sculpture I named 'Loving,' along with sculptures created by 45 other esteemed artists from around the globe, began a multi-year tour across America. This groundbreaking exhibition titled, 'Particle and Wave, Paper Clay Illuminated,' is being showcased by numerous art museums. What a wonderful opportunity and privilege. 
 
Today, I can confidently say, athletics may have played the bigger role in my early life, but art is leading me to the finish line.
 
In my quiet moments, I often reflect upon everyone's unique contribution to the evolution of my life. I feel immense gratitude. We are all inextricably woven together forever.
 
At age 62, I find myself sitting comfortably in my faithful ole boat. I am finally rowing gently down the stream, with the joy of merrily, merrily, at long last, in my heart.   
 
Presented by Paul Madison who served 48 years as sports information director at WWU from 1966 to 2015. He is now in his fifth year as the school's Athletics Historian.
 

Scarlett Kanistanaux Resume

Sculpting the portraits of joy, love, and kindness has inspired a practice of inner peace and contentment that Kanistanaux had not previously known. By sharing these quiet sculptures, her hope is that others might also feel a similar inspiration…a desire to begin, or to continue on, a uniquely personal 'Sacred Journey'.
 
Kanistanaux's work is originally created in water base clay using the traditional method of coil building. All of her clay sculptures are fired. Some pieces are later cast in bronze. 
 
For the past dozen years, Kanistanaux has actively pursued and participated in numerous local and national art venues. Some of these include Sculpture In The Park, Loveland Sculpture Invitational and SOFA Chicago.
 
Gallery Representation, previous and current:
 
Pismo Fine Art Glass, Cherry Creek, Vail, Aspen Colorado
Tansey Contemporary, Santa Fe New Mexico
Fine Art Associates, Boulder Colorado
Raven Gallery, Aspen Colorado
Piece Art Gallery, Vail Colorado
William Havu Gallery, Denver Colorado
Beatrice Wood Center for the Arts, Ojai, California
 
In years 2019-2022 the Particle and Wave-Paperclay Illuminated exhibition tours museums across America. Kanistanaux's clay sculpture, 'Loving,' is part of this 45-artist exhibit.
In 2018-2019, The Beatrice Wood Center for the Arts, displays one of Kanistanaux's small bronze sculptures, "Radiant Joy" (maquette).
In 2018, Benson Sculpture Garden, a public venue in Loveland, Colorado, purchased and adds the bronze, "Radiant Joy" to its collection.
In 2018, William Havu Gallery features Kanistanaux's sculptures at the show SOFA Chicago.
In 2018, Kevin Wallace, director of the Beatrice Wood Center for the Arts, features Kanistanaux's sculpture titled, 'Quiet Mind,' in his book, Intersection: Art and Life. Wallace also displays a representative sculpture of Kanistanaux's
              in his booth at SOFA Chicago, along with other artists featured in his book.
 In 2017, William Havu Gallery featured Kanistanaux's sculpture at the show ArtPalmSprings. Her sculpture was selected as a Show Favorite.
In 2016, Tansey Contemporary selected Kanistanaux's sculpture to be featured at LA ART. 
In 2016, Naropa University of Boulder Colorado, curated a selection of fourteen clay and bronze sculptures in a one-person art show titled, 'Sacred Journey.'
In 2014, Pismo Fine Art Gallery featured Kanistanaux's sculptures at ArtPalmBeach.
In 2013, Kaiser Permanente added Kanistanaux's 39" tall clay, 'Happy One,' to its public art collection. 
In 2012, Kanistanaux's 'Quiet Mind', a 51" tall clay sculpture, was awarded 'Best in Show' at the (Colorado) Art of the State juried art show.
In 2011, 2012, and 2013, Kanistanaux was selected as a featured artist for Pismo Gallery's exhibition at SOFA in Chicago
In 2010, Kanistanaux was awarded First Place in the Foothills Art Center exhibition, 'Colorado Clay.'
In 2009, Kanistanaux was selected to participate in the National Sculpture Society's 76^th Annual Exhibition in New York City, winning the Pietro and Alfrieda Montana Memorial Prize.
In 2005, Kanistanaux participated in the Loveland Sculpture Invitational and in numerous years since 2006 she has been selected to exhibit in the juried show Sculpture in the Park, in Loveland, Colorado.
In 1981, Kanistanaux received a Bachelor's Degree in Art Education from Western Washington State University (now Western Washington University).

Scarlett Kanistanaux, sculptor
 
Education:
Bachelor of Art in Education (secondary) Western Washington University, Bellingham Washington Graduated 1981
 
Career Experience:
Commercial Sign Painter and Billboard Painter (by hand) 1976 – 1999
Professional Sculptor, paperclay and bronzes 2005 – Present
 
Art Show and Exhibition Participation:
2005-2011 Numerous Colorado Art Festivals and Gallery Showings
2007 Loveland Sculpture Invitational
2008-2010 Sculpture in the Park (juried)
2009 National Sculpture Society 76 Annual Exhibition (juried)
2010 FootHills Art Center, Golden Colorado: Colorado Clay (juried)
2011-2013 SOFA Chicago (Pismo Art Gallery)
2013 Arvada Center, Arvada Colorado: Art of the State (juried)
2014 ArtPalm Beach (Pismo Art Gallery)
2014 Art Prize, Grand Rapids Michigan
2015 Tansey Contemporary: Free of Color Exhibition (group)
2016 Naropa University White Cube Gallery: Sacred Journey (solo)
2016 LA Art Show (Tansey Contemporary)
2017 Art Palm Springs (William Havu Gallery)
2018 SOFA Chicago (William Havu Gallery)
2019-2022 Particle and Wave-Paperclay Illuminated, traveling exhibition (juried)
 
Awards & Honors:
2009 National Sculpture Society, Pietro and Alfreida Montan Memorial Prize 2010 Colorado Clay, awarded First Place
2013 Art of the State, awarded Best in Show
2014 Intersection Art & Life, by Kevin Wallace, features Scarlett's sculpture in the chapter titled, Art and the Spirit.
2018 Radiant Joy (bronze) selected and installed in Benson Sculpture Garden 2019-2022 International exhibition: Particle and Wave-Paperclay Illuminated  (juried selection made in 2018). Exhibition is scheduled to visit five museums.

More about Scarlett Kanistanaux

Scarlett Kanistanaux is a ceramic and bronze sculptor residing and working from her studio in Erie, Colorado.

Scarlett knew she had found her calling after several experiences of seeing people moved to tears in the presence of her simple yet powerful portraits of young monks and nuns inspired by the Buddhist traditions.

"I am amazed that the monastic simplicity of an ancient culture could show up in the twenty first century, with all of its rich symbolism intact. The monks and nuns of today, adorned with the same shaved heads and modestly draped robes as their ancestors, are an enduring reminder to humanity that the practice of loving kindness, forgiveness, and compassion are as essential today as they have always been. My hope is that the portraits I sculpt would cause all of us to pause and reflect upon our own sense of soulfulness. Perhaps these quiet beings can serve to mirror our own potential for inner calm, joy and peace."

Kanistanaux sculpted a bust of a peaceful young monk inspired by the Buddhist tradition. She said she wants her pieces to exude a feeling of calm.

"It calls you to check in with your own sense of spirituality, and in our country we don't really have that," she said. "In other countries with monks or nuns they're walking among the people who are constantly reminded of your own sense of spirituality, that you have a soul ... that's my mission. I'm going to attempt to sculpt a spiritual healing."

My Artistic Journey

My love of art has been an ongoing motivating force throughout my life.  I drew, painted, sculpted, learned calligraphy, lettered signs, threw pottery, entered artistic competitions and participated in my first art festival, the Fremont Art Fair in Seattle….all before graduating from high school.

I earned a degree in Art Education from Western Washington University, using my sign painting skills to help pay the tuition.  A wonderful career in billboard painting ensued.  This allowed me to combine my love of lettering with the bigger than life experience of painting gigantic pictures 50 to 150 feet in the air overlooking city freeways and country roads.  As the desire to revisit my creative roots continued to beckon to me, I finally transitioned away from this commercial 'high-wire' painting and back into the world of fine arts.

Over the years, I have had the privilege of being able to study under many of the finest artists and teachers of our time:  Ron Carson, Doug Dawson, Albert Handell, Harley Brown, Kirstin Kokkin, Don Gale, Valentin Okorokov, Bob Smith, and Andi Mascarenas.  Ultimately and thankfully, I was drawn to sculpting as my primary artistic expression.  I have never been happier than when I am 'in the flow of inspiration' while I am sculpting.

These past few years I have enjoyed sculpting the simple, yet moving portraits of the young nuns and monks of the Buddhist tradition.  Coupling the medium of 'living' clay with the method of sculpting from the 'inside out', seems to breathe life into these still ones.  When I first experienced someone crying in front of one of these peaceful sculptures, I was taken by surprise. When another was moved to tears, I knew I had found my calling.  It is a great joy for me to be in their presence.

I have actively sought out venues to showcase my work:  Numerous Colorado Art Festivals and Gallery Showings (2005-2011), Loveland Sculpture Invitational (2007), Sculpture in the Park (juried 2008-2010), and an annual Summer Art Show held at my private studio/gallery along side of artist friends Ella Buchholz and Twig Ertl (2004-2010).

Two of my artistic endeavors led to unexpected, but gratefully received awards:

One of my small sculptures named simply, 'Young Nun', was chosen to be part of the National Sculpture Society's 2009 76th Annual Exhibition.  I was honored to be the recipient of the Pietro and Alfreida Montana Memorial Prize. 

In the spring of 2010 my sculptures were juried into the prestigious Colorado Clay show held at the Foothills Art Center in Golden, Colorado.  This gave me the inspiration to take my work to a larger scale. I created 2 pieces that where 31″ tall. Previous to this, my largest piece had been slightly larger than life size.  It was this show that also inspired a complete body of work using the velvety black gesso finish.  Earlier pieces had been hand painted with colored stains. The sculptures were awarded  first place. I was the happy recipient of one ton (2000 pounds) of clay, compliments of Mile Hi Ceramics in Denver.

Doors have continued to open.  At the end of the summer of 2010, artist Karla Kriss fell in love with and purchased one of the sweet young nun sculptures.  She encouraged her employer, Sandy Sardella, the owner of PISMO fine art gallery, to come out to my studio.  Sandy is always interested in discovering unique and unusual art.  It has been my good fortune that she has chosen to represent my sculpture.  The relationship has turned out to be a blessing on many levels.  I could not have imagined a better gallery fit for these peaceful sculptures.  With the ongoing support from the caring PISMO staff, I can now simply sculpt. What a gift.

Scarlett Kanistanaux

Scarlett Kanistanaux creates portraits in clay that are absolutely arresting. While meticulously rendered in a realistic style, the viewer is afforded an experience that transcends mere realism.

Kanistanaux accomplishes this intention in several ways. An example entitled "Blessing" is a head that measures 43 inches in height. The monumentality is powerful, exerting a commanding presence. The surface is a mysteriously perfect, smooth, softly glowing black gesso. The face seems to be a real person and at the same time an ideal expression of serenity. And most importantly, but hardest to define, is the actual spirit and intention of Kanistanaux, whose efforts to share her vision of peace and beauty have resulted in such a compelling body of work.

In 2014, Kanistanaux was represented by Pismo gallery at Art Palm Beach in Florida. From 2011 to 2013, she participated in Pismo's exhibition at SOFA in Chicago. In 2013, she was chosen to exhibit in "Art of the State" at the Arvada Center in Colorado and took "First Place." In 2010, she was awarded first place in the Foothills Art Center exhibition, "Colorado Clay". In 2009, she was represented at the National Sculpture Society's "76th Annual Exhibition" in New York City, winning the Pietro and Alfrieda Montana Memorial Prize. In 2005, Kanistanaux participated in the "Loveland Sculpture Invitational" and in the years since 2006 she has been selected to exhibit in the juried show "Sculpture in the Park", in Loveland, Colorado.
 
In sculpting Quiet Mind, I have attempted to create a collective portrait of humanity. With this, I hope that viewers will feel something 'familiar' while standing with Quiet Mind. My intention is that this ceramic sculpture would be a soulful expression of the peace that is possible for all people everywhere. To help convey this feeling I have made the piece as unencumbered as possible using simplicity of line, form, and color. Quiet Mind is the largest clay sculpture I have completed and fired to date. I had a large electric kiln especially made in order to fire this sculpture. My technique of sculpting was inspired by the women of Africa. I use a coiling method which allows me to work in a hollow manner. In addition to sculpting with my hands, other tools I use are the wooden ones employed by traditional Korean onggi potters. My enthusiasm for sculpting is drawn from a quote made by the Dalai Lama. "We can never obtain peace in the outer world until we make peace with ourselves".