Soweto - 1990
A celebration of the body, Soweto represents two decades of study of the human form in cast bronze. The sculpture's seeming imperfections — the cracks along the chest and prominent seams along the chest, abdomen and legs — emphasize the human body's organic nature. The absence of limbs highlights the torso's exaggerated musculature and the dignity with which the subject holds himself.

Energy Source - 1985
Energy Source combines the best elements of Tuska's work in bronze and clay sculpture.

The smooth stoneware composition is reminiscent of more abstract clay pieces like Genesis while the understated, natal pose could easily have been cast in bronze. However, the medium, style and pose come together effectively to create the uniquely organic, human quality that is integral to so much of Tuska's work.

Solar Boat - 1970
By 1969, Tuska had, in his mind, mastered clay sculpture. With no more questions to ask of that medium, he moved to Rome and began the study of a new one: cast bronze.

The lost wax method of casting, a method where molds are created by pouring solid plaster or ceramic shell over sculpted beeswax, was a natural progression for a sculptor. He could achieve new levels of detail with the sculpted wax and give his works a permanence that would have been impossible to achieve with fragile clay.

Along with Handstand, Solar Boat is generally considered to be the culmination of his study at the foundry in Rome. His newfound appreciation of cast bronze and his affinity for exploring the human body in motion are apparent in works like this one.

Alfred - 1992
Tense and determined, Alfred is The Thinker recast as an emotional, animated being. The model's straining, overly erect torso and taught legs suggest a contained, nervous energy while his stern expression oozes defiance. He looks like he could spring out of the cane chair—a trademark of Tuska's seated models—at any moment.

Handstand - 1970
Handstand is Tuska's first major bronze creation while studying at the Roman foundry. It, along with Solar Boat, represents Tuska's first foray into the exploration of the human body.

Here, the acrobat — a natural subject for a sculptor fascinated by bodies in motion — is depicted just past the apex of his handstand. The just-off-balance position allows Tuska to examine the effects of the strain on the arms and the torso. The metal folds sharply along the upper arms and is stretched taught around the abdomen while it sags slightly as the muscles across his lower back and legs relax.

Works like this one gave Tuska a lifetime of subject matter to explore. Discoveries he made while at the foundry in Rome influence his work in every medium for the rest of his life.

Vault - 1992
Complications from his stroke in 1987 left Tuska with a number of lingering physical side effects, including the inability to distinguish hot from cold. Bronze was now too exhaustive and too dangerous, so he was forced to work with other, safer materials.

He began making his own paper, mixing the pulp with graphite and casting it in plaster molds. Instead of adding a chemical patina he would instead finish the piece with more graphite. Vault demonstrates his ability to recreate his vision of the human body regardless of the medium.