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拍品專文
Richard Tuttle sought not only to celebrate the use of unconventional materials, but also the role of the installation in the visual arts, introducing an element of what is not seen, as much as what is. “If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience” he said (R.Tuttle quoted in D. Albright, Panaesthetics: On the Unity and Diversity of the Arts, Yale University Press 2014, p. 52). In these two works, the invisible is made visible by one of the most acclaimed and provocative post-minimalist artists of our time.
Tuttle’s striking wall sculpture Torso establishes its presence with a vivid green palette and display of sequins. Its title encourages the viewer to anticipate the anatomical, yet its structure resembles part of a lush tropical plant. As such, Tuttle forces us to re-assess what we might be looking at, using non-traditional materials to think hard about our assumptions and understandings of modern and contemporary art.
In sharp contrast to Torso, Two or More VII veers away from suggesting anything organic and instead represents the most overlooked facets of society–debris and construction materials as they really are. Many of these materials, such as plastic bags, wire and cardboard, represent packaging or infrastructure, that rarely exist as independent objects. Here, these materials serve as the “bones” of another object and are prized for their aesthetic qualities. These materials achieve aesthetic perfection through their design, an ever-shifting process of reinvention that helps these materials to better serve their purpose.
Tuttle’s striking wall sculpture Torso establishes its presence with a vivid green palette and display of sequins. Its title encourages the viewer to anticipate the anatomical, yet its structure resembles part of a lush tropical plant. As such, Tuttle forces us to re-assess what we might be looking at, using non-traditional materials to think hard about our assumptions and understandings of modern and contemporary art.
In sharp contrast to Torso, Two or More VII veers away from suggesting anything organic and instead represents the most overlooked facets of society–debris and construction materials as they really are. Many of these materials, such as plastic bags, wire and cardboard, represent packaging or infrastructure, that rarely exist as independent objects. Here, these materials serve as the “bones” of another object and are prized for their aesthetic qualities. These materials achieve aesthetic perfection through their design, an ever-shifting process of reinvention that helps these materials to better serve their purpose.