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A SETTING, TABLEAU
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"A Setting, Tableau - Nº 1"
2015
sandpainting as sculpture: paint, sand, wood, sandbags, and faux plant
420 x 305 x 75 cm
165-3/8 x 120 x 29-1/2 in.
(set of three objects)
and
"HOMAGE TO LE SOL"
(white grid object)
2015
wood, paint, and nails
160 x 120 x 25 cm
63 x 47-1/4 x 9-7/8 in.
photo: Isabelle Arthuis
photo: Laure Cottin Stefanelli
"A Setting, Tableau - Nº 1"
1 of 2 large side panels
2015
sandpainting as sculpture: paint, sand, wood, and sandbag
258 x 98.5 x 75 cm
101-1/2 x 38-3/4 x 29-1/2 in.
photo: Laure Cottin Stefanelli
"A Setting, Tableau - Nº 1"
1 extra large middle panel
2015
sandpainting as sculpture: paint, sand, wood, and sandbag
305 x 153 x 75 cm
120 x 60-1/4 x 29-1/2 in.
photo: Laure Cottin Stefanelli
"A Setting, Tableau - Nº 2"
(two of three panels pictured)
with "Homage to Le Sol"
2015
sandpainting as sculpture: paint, sand, wood, sandbags, fiddle-leaf fig plant, palm and faux plant
"A SETTING, TABLEAU - NO. 2"
2015
sandpainting as sculpture: paint, sand, and wood
as a set of three:
420 x 220 x 4.5 cm
165-3/8 x 86-5/8 x 1-3/4 in.
or
2 medium side panels:
228 x 115 x 4.5 cm
89-7/8 x 45-1/4 x 1-3/4 in.
and
1 small middle panel:
138 x 115 x 4.5 cm
54-3/8 x 45-1/4 x 1-3/4 in.
DETAIL Nº 1
"A SETTING, TABLEAU"
2015
SANDPAINTING AS SCULPTURE, PLANTS
A setting, a tableau of animation and re-animation. The plants, vases, and lamps become flat; a colored light pushes through and flattens them, eliminating the fore-, mid-, and background; an elimination of hierarchy.
Resistance of the status quo through desire: resistance through desire, in the act of creating beauty.
What is the relevance of art? What is the value of art and object-making when there is suffering: diaspora, homelessness, starvation, mental illness, physical assault on the streets (as police drive by?)
...to make art full-heartedly as a means to invent and defend a space, for these and other questions to be posed. How does one maintain this space for such questions to be repeated and defended?
Power of example: South Central guerilla farmer, Ron Finley, creates an anamorphosis of two spaces: the public area - where no one saw the potential of soil along the sidewalk curb - and his created space via transgression within farming arable land for the creation of food, community, and education in his neighborhood. The city of L.A. tried to punish Finley with fines for his farming, for his act of transgression, which previous to this case, no such situation existed. Therefore, penalties could not be levied. The system therefore had to adapt to norms which the citizens created.
Additional interest: "The Power of Community: How Cuba Survived Peak Oil."
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