contextualart.l.jane
White Noise of The Impoverished
Plaster of Paris, Modroc, resin, wood, cardboard, steel, plastic.
Sculpture, Full life cast.
The crystalline head tilts up to the passer by, the angst of the situation is written all over the face. The right hand outstretched, begging for some money for food, the left curled, arthritic and gnarled resting over the left knee. These ice like components sum up the invisibility, they have the effect of there and yet not. The pose and composition of the body has the appearance of the Romanesque carved marble sculptures, the fabric has a liquid quality as it pools and drapes over the legs. Drips of plaster run over the shirt and scarf, the textured surface giving the figure an unpolished and rough feel, that contradicts the marble appearance from a distance. The yellow tinge to the head and face gives the figure a sickly feel, the white frosting down the face and on the finger tips echoes a sense of the cold that is reinforced by the blanket and scarf.
The cardboard the figure sits on furthers the context of the homelessness and destitute, poor but appropriate insulation from the concrete ground. The text left on the cardboard reads caution and this ironically reverberates the message in the news not to give the homeless money, not too unsimilar to the don’t feed the seagulls signs we have around the coast. Though the figure is large, the fragility of it encapsulates the vulnerabilities of human life, the tenuous economic climate so many are finding ourselves in. There’s a sense of the insubstantial, delicate and breakable.
This piece is loud in its message and conveys to the audience immediately at first glance. In that it is a success. The placement by the window in the gallery space, enhances the concept by putting it into the cold light of day.
White Noise of The Impoverished
Plaster of Paris, Modroc, resin, wood, cardboard, steel, plastic.
Sculpture, Full life cast.
The crystalline head tilts up to the passer by, the angst of the situation is written all over the face. The right hand outstretched, begging for some money for food, the left curled, arthritic and gnarled resting over the left knee. These ice like components sum up the invisibility, they have the effect of there and yet not. The pose and composition of the body has the appearance of the Romanesque carved marble sculptures, the fabric has a liquid quality as it pools and drapes over the legs. Drips of plaster run over the shirt and scarf, the textured surface giving the figure an unpolished and rough feel, that contradicts the marble appearance from a distance. The yellow tinge to the head and face gives the figure a sickly feel, the white frosting down the face and on the finger tips echoes a sense of the cold that is reinforced by the blanket and scarf.
The cardboard the figure sits on furthers the context of the homelessness and destitute, poor but appropriate insulation from the concrete ground. The text left on the cardboard reads caution and this ironically reverberates the message in the news not to give the homeless money, not too unsimilar to the don’t feed the seagulls signs we have around the coast. Though the figure is large, the fragility of it encapsulates the vulnerabilities of human life, the tenuous economic climate so many are finding ourselves in. There’s a sense of the insubstantial, delicate and breakable.
This piece is loud in its message and conveys to the audience immediately at first glance. In that it is a success. The placement by the window in the gallery space, enhances the concept by putting it into the cold light of day.