After visiting the Guggenheim Museum in New York, I was captivated by the work of Sarah Sze. As I discovered when watching her TEDtalk, Sze's use of installation is really able to curate a feeling of a fleeting moment or emotion stirred by something as simple as a bird in flight. This is what drew me to experiment with more complex mix media.
This outcome was created about April 2023, and was built as a temporary exhibition in my mum's kitchen using her clothes maiden. Hence it's title: 'The Maiden Project'. This additionally referenced the fact that I though this was the first 'real' outcome I had created which incorporated so much of my theming.
The maiden includes a monument if smaller details like tarot card, teabags, handmade gifts, socialist newspaper, film photos, first had references of live drawings collected on travels, cups I was using as I put together the installation, and ironing board, painted boards which I had made earlier in the course, my great grandmothers clothes pegs and the record player I share with my sibling playing boygenius' 'the record'. All these smaller elements are intended to come together to create a representation of myself in a way. Or at least the moments and the people that got me here.
Though it no longer exists it still holds immense value in my memory. Just as each individual object had.
Sze incorporates objects such as tools,ladders and spirit levels adding other components like miniature wooden bridges .The sculpture sweeps across the space in delicate curves connecting the objects into a larger construct.
The way Sarah Sze uses the wall space opens my mind up to sculpture in the space that you are working in, and the space that is available to you.
Since the late 1990s, Sarah Sze has developed a signature visual language that challenges the static nature of sculpture. Sze draws from Modernist traditions of the found object, dismantling their authority with dynamic constellations of materials that are charged with flux, transformation and fragility. Captured in this suspension, her immersive and intricate works question the value society places on objects and how objects ascribe meaning to the places and times we inhabit.
If a building can not only draw people to its interior but also activate the space around it, then we have the possibility of a more complex reality—urbanity, a reality that is made through practices and interactions, where buildings and other artifacts become actors in a larger story.
Small actions, small objects, particularly when seemingly out of place, could have an effect in even the most powerful events or processes.