shoulders while staying true to his hyper-realistic rendering of the human face. Penny’s Panagiota works are a subset of this series. The idea of time is directly addressed with the Panagiota pieces. The work visually charts a conversation Penny has with a young woman by rendering her facial expression at different points in their conversation—bringing time-photography directly into sculptural form. Backs (2004–2008) Penny created a series of hyper-real sculptures of the backs of individuals. These sculptures continue the domain of neither fully two-dimensional nor three-dimensional forms in Penny’s work. There are no faces on the sculptures; however, the shoulders, neck and back of the head are meticulously rendered. Back of Evan is a piece completed in 2005 of a bald man facing slightly to the right. This sculpture is so carefully crafted that one can see the folds in the man’s neck. Recent works Penny’s most recent works increasingly utilize new technologies to render hyper-realistic sculpture. In 2011 Penny created his largest sculpture to date, Jim Revisited, a 10 foot tall man with a commanding presence. As the model for this new sculpture Penny revisited his 1985 piece, Jim, a diminutive 4/5 life-size sculpture positioned in a contrapposto stance. In Jim Revisited, Penny used digital scanning technology to dramatically re-size and manipulate the stance. He then reworked the surface in clay to add greater detail. The progression of Jim from 1985 to 2011, exemplifies the development of Penny’s sculpture over the last 26 years, in addition to reflecting the advance of technology, photography, and the representation of the body in a digital imaging age. Recently Penny has also sculpted two self-portraits — one of himself as he remembers himself looking as a young man, and another as he imagines he will look at an old age. These two sculptures reveal Penny’s self-reflection through a continuum of time, and alludes to the subjective nature of memory and desire, and how photographic images inform and distort perception and representations of the Self. Exhibitions 2011: Evan Penny. Re Figured, Kunsthalle Tübingen, later on Museum der Moderne Salzburg and Art Gallery of Ontario, Toronto 2012–2013: Lifelike, group show originated at the Walker Art Center, traveling to the New Orleans Museum of Art, the Museum of Contemporary Art, San Diego, and Blanton Museum of Art in Austin, Texas Awards 1997 Victor Martyn Lynch-Staunton Award from the Canada Council. References Bibliography Alberto Fiz/Daniel Schreiber (Eds.): Evan