The work you see in Holding Pattern is made up of several years’ worth of exploration on the charged relationship between the surface or “skin” of a sculpture and it’s volume. I am interested in how it can alter the understanding of the structural form. What is the covering for? What is underneath? How is it made? And what is this thing, anyway?
I became very involved in creating the patterned surfaces or coverings on my sculptures during 2017-2019. I enjoyed the mix of complex textures and colors that shift as they travel around the volume’s dips and curves. Working this way took me to childhood memories of my mother sewing quilts, my early collage work, my own children’s clothes and other culture’s rich histories of creating patterns and coverings.
The more recent sculptures (2019-2020) have shed their clothes to stand naked and vulnerable. These pieces have mysterious interior spaces, open mouths and seem to “breathe”. As containers with no clear function, the pale sculptures are reminiscent of household objects with odd, sometimes humorous, anthropomorphic or biomorphic qualities.
When I was creating this work, the Covid-19 pandemic was not even on the horizon, but since its appearance, the mounting deaths around the world and our recent home isolation period, I have been struck by some of the parallel metaphors that I have found in the sculptures and in our present situation.
Coverings, clothes and masks can be fun to wear and to look at but can’t really protect us.
Touch is essential, yet we are instructed not to touch each other or the art, without serious risk.
Self-isolation is a useful practice for turning inward and knowing oneself, yet too much isolation leaves us unconnected to each other and our communities.
I hope you enjoy using your eyes to imaginatively touch! Stay safe.
- Laura Evans
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