room to make: sculpture

Showing posts with label sculpture. Show all posts

iris eichenberg

I wanted to share some of the wonderful work by Iris Eichenberg for awhile now.

Iris Eichenberg, Sense Mapping installed, 2012, glass beads, fabric, stockings, gold plated copper, steel, Fimo, ribbon, various dimensions.

A few years ago, I attended a workshop conducted by Iris at Alchimia in Florence. It was titled 'Please be afraid of being understood'.

It was a great experience and I remember the discussions and explorations through making, that Iris encouraged. Questioning inclinations of over-explaining through work and of the value of the unsaid; allowing the work to continue, and perhaps unfold, through the viewer. But not insisting.

Iris weaves that so beautifully through her work.

For more detailed views of Iris' work please visit her Klimt02 page here.

Images are borrowed from AJF blog, from an interview with Iris Eichenberg and Sofia Björkman (Platina).

giuseppe penone

Giuseppe Penone, Spazio di Luce

Whitechapel Gallery installation view

Photo: David Parry / PA wire

more here.

sydney ~ travel diary

Finally, I had a chance to update these pages and show snippets from my trip to Sydney and Gaffa Gallery. It was a great little trip and it was so nice to meet the lovely people at Gaffa, they were so kind and welcoming! Also, I'll be updating my website soon with the 'meanders' series, so here are a few snippets:

Djurdjica Kesic, Meanders, Necklace #2, Tasmanian Oak, Sterling Silver, Enamel paint, Silk.

Djurdjica Kesic, Meanders, Necklace #1, Tasmanian Oak, Pine, Enamel paint, Silk.

Djurdjica Kesic, Meanders, Necklace #4, Pine, Enamel paint, Silk.

While in Sydney, we couldn't miss the opportunity to visit the MCA and view an exhibition by Wangechi Mutu. Discovering Mutu's work was a true gift. I was really taken by her work. She fuses and interplays vulnerability and strength so well - as if she lures you in with a whisper only to confront you with such power... Her work deals with and questions the ideas of "beauty, colonialism, race and gender"*.

Photographs are absolutely not enough to describe the subtleties of her work (especially these ones taken with a phone camera! Sorry for bad photos, but I couldn't resist posting). Also, I'm not sure if I was just projecting but at brief instants I thought I recognised a nod to the great Louise Bourgeois as well as Joseph Beuys, yet in clearly Mutu's voice. Great work, so worth experiencing.

Wangechi Mutu, Perhaps the Moon Will Save Us (2008) detail

Wangechi Mutu, Blackthrones (2012)

We also visited a very good exhibition of photographs by Jeff Wall. Really worth visiting. A stop over at Kinokuniya was a must. I could spend hours in there. Oh wait... Yes, hours later I came out with a loot of japanese mooks.

Jeff Wall at MCA, Sydney

Also, I was so happy to catch up with the lovely friend from jewellery school days and a jeweller resident at Gaffa Gallery, Lalita Peeranan. After living and working in Florence, New York and Amsterdam, she is back in Australia. We had a peek at her studio and her beautiful work. You can see more of her work here.

Lalita Peeranan's studio

(*from here)

eva hesse

“…a series of small sculptures by Eva Hesse that are essentially fragments rescued from her studio. They are fragile and diaphanous in substance, almost anti-sculptures.

A year before her death, in 1969, Hesse wrote of her desire “to get to non-art, non-connotive, non-anthropomorphic, non-geometric, non-nothing; everything… It’s not the new, it is what is yet not known, thought, seen, touched; but really what is not and that is.” Though not quite there, or not quite anything, the works, nonetheless, feel significant and demanding. As Leslie Camhi wrote for the New York Times blog, though the work in the exhibition seem closer to prototypes to autonomous works of art, they are compelling in revealing those familiarly Hesse-ian themes: “plasticity, an engagement with ephemeral materials, the elusive and incomplete nature of memory, and a redolent corporeality.”

via pale and artobserved.

The notion of "peeling back", of taking away in order to expose, of getting to the essence and attempting to reveal the essence alone, asks for an ongoing exploration. It is also what very much draws me to Eva Hesse's work. Beauty of the object becomes consequential. I really love these pieces..

unmakings

Here is a wonderful work by Silvie Deutsch.

The description below is taken from Slivie's blog unmakings (very much worth the visit):

"I investigate the animate nature of my surroundings—how everyday objects teem with labor, history and potential. Things are always in the making; they exist as a dynamic entanglement of units interconnected in their presence, always becoming, always formed by their relating. Using detailed processes, I revert objects to their nascent stages of instruction, then destroy and rebuild. Through this process that I call unmaking, I address the importance of making itself. To unmake materials, I have to re-member their becoming. I have to recognize all the components that make up the knotted structures we depend on to begin with, and how these structures are ordered.

Development and growth exist in contingent relation to integrated and entangled networks of shifting orders of culture and space; there is no stasis in this tidal expansion and ebbing. I am deeply aware of the interconnected and evolving nature of things, and as I suture these representative structures together (maps, roads, evidence of “women’s work”, body parts, clothes, patterns), I find that I can discover abstract, strange and often grotesque forms in the joining of things that do not belong. Meaning builds and recedes, like the tenuous knitted structures in my videos. There is no meaning in just one word unit, as in a stitch or sculptural fragment. The meaning comes from it all amassing. "

anish kapoor

What a privilege it is to see and experience Anish Kapoor's work..

Here are more photos I took at MCA in Sydney.