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拍品专文
Divided into equal bands of black and white, Richard Serra’s Large Reversal #3 presents a dramatic interplay of material and form. The work is one of Serra’s Reversals, a series of works comprising two sheets of handmade paper on to which he has applied thick, dense layers of black Paintstick. Although he is primarily known as sculptor, drawing has long played an essential role in Serra’s oeuvre; Large Reversal #3 exemplifies his celebrated graphic practice. The expressive, intense accretion of black speaks to Serra’s interest in experiential engagement with an artwork. As he noted, the drawings ‘enable [him] to understand different aspects of perception as well as the structural potential of a given sculpture. They are distillations of the experience of a sculptural structure’ (R. Serra, ‘Notes on Drawing’, Richard Serra Drawings/Zeichnungen 1969-1990, Bern 1991, p. 12).
Rich in texture and visual cadence, Serra’s Painstick on paper works speak to the performative nature of his practice. As when he famously threw molten lead against the wall in his first ‘splash’ series of 1968, his drawings too are built up through a process of repetition. Layer over layer, a sculptural image emerges, a process to which he closely attends: ‘To bring a piece together, you have to understand its volume, weight, and mass, and you have to give it a clear delineation. The line of drawing is essential for the articulation of all these components. In a sense, you can think of anything, and of anything among things, as drawing. Everything that relates to everything else in relation to space and place has to do with drawing, good or bad. You can see the whole world as a composite of delineated forms, a differentiation of forms’ (R. Serra interviewed by G. Garrels, Richard Serra Drawing: A Retrospective, exh. cat. The Menil Collection, Houston 2011, p. 65). This sense of articulation is evident in the balanced, alternating forms of the present work. Its graphic equilibrium belies its remarkable presence: Large Reversal #3 has an impact that extends well beyond the paper’s edge.
Rich in texture and visual cadence, Serra’s Painstick on paper works speak to the performative nature of his practice. As when he famously threw molten lead against the wall in his first ‘splash’ series of 1968, his drawings too are built up through a process of repetition. Layer over layer, a sculptural image emerges, a process to which he closely attends: ‘To bring a piece together, you have to understand its volume, weight, and mass, and you have to give it a clear delineation. The line of drawing is essential for the articulation of all these components. In a sense, you can think of anything, and of anything among things, as drawing. Everything that relates to everything else in relation to space and place has to do with drawing, good or bad. You can see the whole world as a composite of delineated forms, a differentiation of forms’ (R. Serra interviewed by G. Garrels, Richard Serra Drawing: A Retrospective, exh. cat. The Menil Collection, Houston 2011, p. 65). This sense of articulation is evident in the balanced, alternating forms of the present work. Its graphic equilibrium belies its remarkable presence: Large Reversal #3 has an impact that extends well beyond the paper’s edge.