Now on view outside the Anderson collection at Stanford University, a study of Neri's bronze Alborada patina sculptures.

Neri is known for his prolonged engagement with the female figure in a variety of materials, starting with plaster in the 1960s and moving into bronze and marble. The figures in this grouping range from table-top to life-size in scale and reference Neri’s origins with plaster and his expressionistic manipulation of the medium. By casting the plaster in bronze, the tactile surfaces are preserved and enhanced. The works on display are unified by a new patina, the Alborada or Dawn patina. In his essay for the exhibition catalogue, Bruce Guenther, former chief curator at the Portland Art Museum, elaborates on the finish:

"Neri’s Alborada patina, as the poetic name implies, suggests the warming sunlight of morning through an opaque white pigment finish rubbed with a yellow glaze that highlights and deepens the visual power of the sculpture’s surface complexity. It is a finish that is immanently alive and reveals the singularity of Neri’s development of form and surface over the decades. Settling into the fissures and hollows, warming the taut, smoothly sanded passages, the Alborada patina allows the eye a truer perception of the artist’s hand at work…"