In my current sculpture, I am noticing that compositional ideas ring true in comparison with my older work. Perhaps the personal way one builds a composition is one of those core truths.
I start simple. Think of a Japanese sumi-e painting: Broad simple strokes, the detail very limited and only as much as needed to convey the message.
In a way, my chairs are composed in the same way. In “Baby-Carrier” the bones of the chair are simple and strong. As are the bones of a woman of baby-carrying age. Simple details accompany the chair: An egg, the womb, and an entry mechanism. Not much more.
Even with the strong bones and simple function, the chair is unusable as a seat. That is the point of these feminized chairs. This chair is different from later work, in that the chair is made from the parts of many totally different chairs, save that of the armrest and support element on which the egg is sitting. In much later work, more of the original chair is included making the added detail more like a superstructure to substitute for the missing parts of the chair.
What challenges me in this work is the interdependence of form and function. The final structure has to support compositional integrity and have enough strength to live in the world. Or be shipped from place to place.
Then, according to my visual art history, for the next piece, more detail is included. Below is the piece created after “Baby-Carrier”.
And here is the piece created before “Baby-Carrier”, “Young Woman”.