Date: October 2019
Size: 3 x 3 cm cubes
Material: Natural wood matchsticks, super glue, poster paint
Whiteread casts everyday settings, objects, and surfaces in ghostly, free replicas. There is almost a practical use to the cases, suggesting a new permanence, imbued with memory. A childhood surrounded and influenced from architecture and art allowed Whiteread to look up and process the fluidity between the two. The processes of looking, emptying, and filling run throughout her work, revealing how the surfaces of daily life can disappear and reappear, bearing the traces of previous lives.
Now known for her large-scale sculpture and ambitious, architecturally scaled concrete works. These works capture the details of entire rooms, buildings and large architectural elements such as stairs. The concrete is poured in a manner to pick up each scratch and bump of the surfaces it touches, carrying the memory and detail into another life.
Although the works that Whiteread creates are to architectural scales, she wishes for them to become invisible, much like the way architecture becomes. Attention is not paid to architecture currently and Whiteread wishes for her pieces to be something that you ‘come across’ and that is part of the landscape. The use of concrete as the main material of the works also comments on the building industry and the current standards of building materials.
Date: October 2019
Material: Natural wood matchsticks, super glue
The act of balancing simple shapes – the sense that nothing is holding them up except for themselves. Using gravity, tension, and structure of architecture, balancing cubes on their corners or using the tension to hold them at angles. Repetition, multiplication and relationship.
Perova explores the relationship between the materials of the everyday and of smooth construction. The often fragile nature of some of the materials she uses such as newspaper or pillows, can be found squished, folded and rolled between smooth dark blocks. The juxtaposition between these elements can be confusing, but present an alternative nature of the materials. The pillows can be deemed as strong, for they are used daily and keep their form, whereas the blocks can be seem as malleable like paper.
Pinto is interested in all contingent, changeable, and temporary materials within sculptures that establish tensions and defy gravity and balance. Translated into the sculpture is his feelings on the world that pulses around him as well as human relations. The materials oppose each other to form that unknowing relation as well as a shifting and utopic territory of harmony among opposition.
The sculptures that Pinto creates gives a breath, surrounded and immersed, into heavy living structures. Continually breathing into his works, Pinto moved into enlargement and heavier materials to include blown glass, steel cables and wood blocks. There is a trust and faithful nature in each of the materials picked. Accidents are used within the piece, with the abyss becoming a fascination. ‘Risk and chance are elements in my work, in the same way that they are present in our lives. If we pay attention, they show us the way’.
The unstable balance made of opposing dualities allowed the incorporation of a third element: the insertion of the architectonic space. This allowed Pinto to use gravity and the tension and structure of the architecture to create his pieces. He does not sculpt or use tools within his pieces, but rather obtains and transforms to establish the unstable interaction.
Pinto is also interested in exploring materials that move between the forms of solid and liquid. The dynamic forms of materials add to the poetry behind each of his balancing works.
‘Fear instigates and defies me. It fascinated me like an abyss. I need to get to the edge and look down to see how deep and risky it is. The abyss appears when the material shows its potential, which is sometimes unknown, and we only discover such potential when we use the material in a different way, creating a tangent, a space for the unforseen.’