Nested Transmuter Cycle: A Boulder into the Pond

Installation view, Nested Trasmuter Cycle, by MSHR. Courtesy of Interstitial.

I often feel that time is an unspoken quality of sculptural work. Of course, time is inescapable, and so any sculpture that we view must occur over time. The time we spend looking at the work, the time it takes to walk around the sculpture to see it from all angles, the time to sculpt it, which is inscribed in its surface and structure. Time does not stop affecting a work of sculpture, either. Eventually, any material crumbles to dust. Every solid substance is secretly in motion, whether changing form, decomposing away, or slowly moving through space, even as it adheres to the surface of our spinning planet. Continue reading

Rodin’s Human Experience, and Our Own

Rodin Sculpture

Three Shades, by Rodin. Photo courtesy of the Portland Art Museum.

I tend to prefer abstract sculpture— however, even in more representative work, there is plenty of abstractness to find and appreciate. Take the Rodin exhibition currently at the Portland Art Museum. Subtitled “The Human Experience,” the exhibition certainly showcases the representational aspects of Auguste Rodin’s masterful bronze works. The 52 bronzes in the show are almost entirely of human forms, and are curated so that the viewer learns about the process by which the sculptor produced the works both in detail and at scale. In re-using aspects of previous works, Rodin allowed particular characteristics of the human form to span across his oeuvre, and the viewer can immediately sense these pieces of humanity— hands, torsos, heads, limbs— extending throughout the gallery, like memories or ghosts of the many models that the artist employed to create these testaments to the human form. Continue reading

Tying the Knots of the World

Françoise Grossen Sculpture

Installation view of ‘Françoise Grossen Selects’, 2016. Photo by Butcher Walsh.
Courtesy of the Museum of Arts and Design.

The more I think about fiber arts, the more enamored I become with it as a form of sculpture. Visiting the Françoise Grossen Selects show at the Museum of Art and Design put this motion into overdrive, as I explored the variety of things that might be done using solely rope. Continue reading

Toxic Seas

sculpture


Institute For Figuring’s Crochet Coral Reef project, 2005–ongoing. Photo courtesy of the Institute For Figuring

Margaret and Christine Wertheim’s coral reef crocheted project has been shown all over the world, but the current exhibition of their work and that of their many worldwide collaborators at Museum of Art and Design’s Crochet Coral Reef: Toxic Seas show is one of the best that I’ve seen. Continue reading

Weaving Space

Sculpture

Restoring the Breath– Sacred Relationship, CCNA Portland Art Museum, courtesy Portland Art Museum.

It’s easy to think of sculpture as art in three dimensions. But at root, sculpture is about space.

Walking into the Center for Contemporary Native Art gallery at the Portland Art Museum to see the Salish weaving show Restoring the Breath— Sacred Relationship, I wasn’t immediately struck by the use of space in the way that I would be at a more traditional exhibition of sculpture. And yet, the space is in the room. Continue reading

Inside the Artist’s Studio: Sterling Crispin

Sterling Crispin Sculpture

Neophyte image, by Sterling Crispin. Image courtesy of the artist

Artist Sterling Crispin has been engaging in a remarkable project over the course of the year: designing software to simulate the “growth” of a plant in a 3D model, which can then be printed using standard 3D printing equipment. He was kind enough to explain to me how this project is going, what it means to “grow” something in simulation, and how it fits in with the work of other artists working with additive sculpture technologies. Continue reading