Carded | Henry Klimowicz

feature-kHenry Klimowicz, a sculptor based in Millerton, New York, has used cardboard exclusively in his work since 1986. He creates reliefs and three-dimensional pods, layered topographical studies, decorative wall hangings resembling outsize textiles, and organic forms summoning sea coral. There are discs which are six feet in diameter where the artist pummels, squishes, crimps and “beats up” the stiff paper.

Henry Klimowicz, Untitled, 2013 Cardboard, hot glue 34 x 12 x 14 inches. Photo by KEN EK PHOTOGRAPHY

Henry Klimowicz, Untitled, 2013. Cardboard, hot glue
34 x 12 x 14 inches. Photo by KEN EK PHOTOGRAPHY

And there are twenty-foot high curtains of woven cardboard that emit light. Klimowicz also makes surprisingly durable benches with decorative surface pattern. His signature material simultaneously poses limitations and advantages. Recently, to relieve the persistent uniformity of the cardboard, skeins of dried white glue and an infrastructure of wire supports were added to the list of artist’s materials. “The hot glue gun is the binder. It’s beginning to have a structural place in the work,” Klimowicz explained. “The use of the wire is critical sculpturally. My intent is to treat the wire with as much reverence as the cardboard,” he said.

Despite glue drips and a wire foundation, cardboard, with its earthy brown color and landfill aura, dominates. There is no guesswork on what each piece is made of; viewers are free to consider process and subject matter. Klimowicz pushes the material – the common, everyday corrugated stuff of packing boxes – as far as possible. The cardboard is as rugged as a supermarket packing container: printed product letters, small surface tears, even box creases are visible and celebrated on the surface or verso of Klimowicz’s pieces. The material’s past isn’t hidden or disguised, but reconfigured from grocery store castoff to sculpture.   “I don’t buy any new cardboard,” the artist recently told a visitor to his show at the Morrison Gallery in Kent, Connecticut. He gathers his material, jettisoned by the local hardware store or saved for him by art collectors whose shipments are secured with cardboard. “There isn’t a shortage of cardboard in this world,” he acknowledged.

HENRY KLIMOWICZ, Rectangular Volume 1, 2013 Cardboard, hot glue. 240 x 120 x 72 inches

HENRY KLIMOWICZ, Rectangular Volume 1, 2013
Cardboard, hot glue. 240 x 120 x 72 inches

Klimowicz credits a great aunt, Molly Nye Tobey (1893 – 1984), who hooked rugs first as a student at the Rhode Island School of Design, as an influence on his work. “I have a fiber background in my DNA,” he described. “This was a part of my self and a part of my sense as an artist.” He shares the intensely repetitive process of hooking a rug, quilting, or creating a needlepoint so much that his process veers toward craft. Pointing to his projects, he smiled: “It’s part of being a real feminist craft artist.”  Geographical distance from a major urban area and his base in Dutchess County has allowed the artist to keep bees. “There are definite references,” in his work to the beekeeper’s tasks. “I know what a drone cell and a honeycomb look like,” he described, alluding to forms in his sculpture.

But the artist is hesitant to make clear comparisons to visual clues in his work. “My work is minimal and abstract and derives from natural forms, but I am leery about setting the course any viewer would take with it. Describing his art, Klimowicz happily acknowledged the mundane character of his material: “Everything that is done is my personal uplift to it. It doesn’t come with a cultural weight or value. This has a lot of other side benefits. It’s a nonthreatening material.”

By Brooke Kamin Rapaport

This slideshow requires JavaScript.

7 responses

  1. Henry Klimowicz is an exciting and innovative artist. A major show at the Berkshire Museum in 2011 demonstrated that he should be elevated to the big time in art. I’m waiting eagerly to see that happen.

  2. The forms individually or collectively assembled leave the viewer room for their own interpretation of meaning. That the work is made with cardboard as a means for expressing a unique
    sensibility to material and form is intriguing. Sort of a ” chicken / egg ” question but irrelevant
    to the final outcome as sculpture of great pleasure to view.

    • Agreed, Harvey. Because the cardboard is a recognizable material, viewers are free to interpret the objects. Henry’s medium, though, is not without content — and is open to the eco-interpretation.

  3. The exhibition of Henry’s work at the Morrison Gallery in Kent, CT was amazing! The material was at the same time familiar and then vanishing as you were drawn into the imagery and space of the sculpture itself. A wonderful experience!

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

%d bloggers like this: