Sculpture
In the early 1980's, Audrey Flack moved from doing mainly photorealism painting to scultpure, particularly of Goddesses. She describes sculpting as "a life and art-affirming act and a source of solidty on many levels." She switched from painting to sculpture because she felt the world of art was becoming out of control, and she felt stability came from sculpting. Also, she sought a new form of art that would serve as a "new form of private icon and public monument" (Mathews 88). Flack pre-empted this change in medium through paintings of sculptures, such as Macarena of Miracles. Also, many of her former works were of strong women, so the transition to goddess-centered scultping makes sense in context.
Flack has dedicated her work almost solely to ancient, female or feminine images. This subject matter came naturally, as she was posing female figures and saw something heroic and goddess-like in each of them. She found the women to be real as well as idealized. This theme is present in many of her photorealist paintings as well (Gouma-Peterson 103-104).
Not only as these sculptures of "goddesses" but also what Flack describes as a new woman, combining the traditional with the contemporary, Classicism and kitsch (Mathews 88-90).
Angel with Heart Shield (1981)
Black Medicine (1981-82)
The Art Muse (1988)
Egyptian Rocket Goddess (1990)
Victory - Earth Mother (1990)
Civitas - Four Visions (1990-91)