Untitled.
Advertising column of a toy maker.
Archaeological presentation in the future.
Artwork.
Design for a movie set.
DNA structure.
Fear of a cleaner.
Futuristic city.
Hobby room of an autistic person.
Overturned garbage can.
By Theo, www.artatsite.com
Vertaling
Zonder Titel.
DNA-structuur.
Futuristische stad.
Hobbykamer van een autist.
Kunstwerk.
Ontwerp voor een film set.
Omgevallen vuilnisbak.
Reclamezuil van een speelgoedfabrikant.
Toekomstige archeologische presentatie.
Schrik van een schoonmaker.
Door Theo, www.artatsite.com
www.artbeat.seattle.gov:
'I have created a sculpture titled An Equal or Opposite Reaction, a phrase borrowed from Newton’s Third Law of Motion. Movement through the lobby determines the form on the sculpture in several ways,' Sze writes in her artist statement. 'On the one hand, the sculpture itself explores structures that are losing mass, stripped down and revealing skeletal structures, building-like foundations, or underlying support mechanisms that lie beneath. While on the other hand, they describe organic systems in growth, development, climbing and accumulating. In this way the piece attempts to describe an entire organism still in the process of building or falling apart.'
The artist also writes, 'As an entrance piece to the opera and ballet, the piece is built as a welcoming monument filled with the fantasy, imagination and excitement of attending a performance. It is also a piece that is meant to be revisited and rediscovered over time, whether it be upon entering the performaarly evening light and seeing it anew upon leaving the performance in the late evening light, or seeing it over the course of several visits to the stage over the years.'
www.americansforthearts.org:
Movement through the lobby determines the form on the sculpture in several ways. As the viewer enters the lobby, the vortex structure of the sculpture is designed to sweep the viewer’s sight line up into the space above. Entering from the direction of the cafe, the spinning vortex acts as an eddie, if you will, in the flow of light and space that curves down the hall. From the different views offered by the balconies and the stairs of the lobby, a multitude of vantage points are revealed as the sculpture is viewed in the round, and the climbing and tumbling structures within the sculpture play on the movement of the two stairways that flank the piece’s location. On the one hand, the sculpture itself explores structures that are losing mass, stripped down and revealing skeletal structures, buildke foundations, or underlying support mechanisms that lie beneath. While on the other hand, they describe organic systems in growth, development, climbing and accumulating. In this way the piece attempts to describe an entire organism still in the process of building or falling apart.
www.artbeat.seattle.gov:
New York artist Sarah Sze created An Equal and Opposite Reaction for the grand lobby of McCaw Hall, home to Seattle Opera and Pacific Northwest Ballet, in 2005. Each section of the suspended sculpture is constructed of hollow aluminum bars, filled with highly articulated fabricated parts and found objects, such as pushpins, rulers, zip ties, ladders, extension cords, industrial clamps, faux flowers and tape measures. The piece also contains kiln-formed and sandblasted laminated glass. At 30 feet tall, 20 feet in diameter at the top, and three feet in diameter at the bottom, the vortex structure of the work sweeps the viewer’s gaze up into the space above.
The artwork was built by Seatt Opera Scenic Studios. Seattle Opera has one of the most innovative scene shops in the country, and Sze realized the importance of having her sculpture in the hands of a team with technological expertise and artistic acumen.
www.wikipedia.org:
Sarah Sze (born 1969) is a contemporary artist known for sculpture and installation works that employ everyday objects to create multimedia landscapes. Sze's work explores the role of technology and information in contemporary life utilizing everyday materials. Drawing from Modernist traditions, Sze's work often represents objects caught in suspension. Sze lives and works in New York City and is a professor of visual arts at Columbia University.
Sze draws from Modernist traditions of the found object, to build large scale installations. She uses everyday items like string, Q-tips, photographs, and wire to create complex constellations whose forms change with the viewer's interaction.[9] The effect of this is to "challenge the very material of sculpture, the very constitution of sculpture, as a solid form that has to do with finite geometric constitutions, shapes, and content." When selecting materials, Sze focuses on the exploration of value acquisition–what value the object holds and how it is acquired. In an interview with curator Okwui Enwezor, Sze explained that during her conceptualization process, she wil"choreograph the experience to create an ebb and flow of information [...] thinking about how people approach, slow down, stop, perceive [her art]."
Sze's work is influenced, in part, by her admiration for Cubists, Russian Constructivists, and Futurists. Particularly, their attempt to "depict the speed and intensity of the moment and the impossibility of its stillness."
Sze represented the United States at the Venice Biennale in 2013, and was awarded a MacArthur Fellowship in 2003. Her work has been featured in The Whitney Biennial (2000), the Carnegie International (1999) and several international biennials, including Berlin (1998), Guangzhou (2015), Liverpool (2008), Lyon (2009), São Paulo (2002), and Venice (1999, 2013, and 2015).
Advertising column of a toy maker.
Archaeological presentation in the future.
Artwork.
Design for a movie set.
DNA structure.
Fear of a cleaner.
Futuristic city.
Hobby room of an autistic person.
Overturned garbage can.
By Theo, www.artatsite.com
Vertaling
Zonder Titel.
DNA-structuur.
Futuristische stad.
Hobbykamer van een autist.
Kunstwerk.
Ontwerp voor een film set.
Omgevallen vuilnisbak.
Reclamezuil van een speelgoedfabrikant.
Toekomstige archeologische presentatie.
Schrik van een schoonmaker.
Door Theo, www.artatsite.com
www.artbeat.seattle.gov:
'I have created a sculpture titled An Equal or Opposite Reaction, a phrase borrowed from Newton’s Third Law of Motion. Movement through the lobby determines the form on the sculpture in several ways,' Sze writes in her artist statement. 'On the one hand, the sculpture itself explores structures that are losing mass, stripped down and revealing skeletal structures, building-like foundations, or underlying support mechanisms that lie beneath. While on the other hand, they describe organic systems in growth, development, climbing and accumulating. In this way the piece attempts to describe an entire organism still in the process of building or falling apart.'
The artist also writes, 'As an entrance piece to the opera and ballet, the piece is built as a welcoming monument filled with the fantasy, imagination and excitement of attending a performance. It is also a piece that is meant to be revisited and rediscovered over time, whether it be upon entering the performaarly evening light and seeing it anew upon leaving the performance in the late evening light, or seeing it over the course of several visits to the stage over the years.'
www.americansforthearts.org:
Movement through the lobby determines the form on the sculpture in several ways. As the viewer enters the lobby, the vortex structure of the sculpture is designed to sweep the viewer’s sight line up into the space above. Entering from the direction of the cafe, the spinning vortex acts as an eddie, if you will, in the flow of light and space that curves down the hall. From the different views offered by the balconies and the stairs of the lobby, a multitude of vantage points are revealed as the sculpture is viewed in the round, and the climbing and tumbling structures within the sculpture play on the movement of the two stairways that flank the piece’s location. On the one hand, the sculpture itself explores structures that are losing mass, stripped down and revealing skeletal structures, buildke foundations, or underlying support mechanisms that lie beneath. While on the other hand, they describe organic systems in growth, development, climbing and accumulating. In this way the piece attempts to describe an entire organism still in the process of building or falling apart.
www.artbeat.seattle.gov:
New York artist Sarah Sze created An Equal and Opposite Reaction for the grand lobby of McCaw Hall, home to Seattle Opera and Pacific Northwest Ballet, in 2005. Each section of the suspended sculpture is constructed of hollow aluminum bars, filled with highly articulated fabricated parts and found objects, such as pushpins, rulers, zip ties, ladders, extension cords, industrial clamps, faux flowers and tape measures. The piece also contains kiln-formed and sandblasted laminated glass. At 30 feet tall, 20 feet in diameter at the top, and three feet in diameter at the bottom, the vortex structure of the work sweeps the viewer’s gaze up into the space above.
The artwork was built by Seatt Opera Scenic Studios. Seattle Opera has one of the most innovative scene shops in the country, and Sze realized the importance of having her sculpture in the hands of a team with technological expertise and artistic acumen.
www.wikipedia.org:
Sarah Sze (born 1969) is a contemporary artist known for sculpture and installation works that employ everyday objects to create multimedia landscapes. Sze's work explores the role of technology and information in contemporary life utilizing everyday materials. Drawing from Modernist traditions, Sze's work often represents objects caught in suspension. Sze lives and works in New York City and is a professor of visual arts at Columbia University.
Sze draws from Modernist traditions of the found object, to build large scale installations. She uses everyday items like string, Q-tips, photographs, and wire to create complex constellations whose forms change with the viewer's interaction.[9] The effect of this is to "challenge the very material of sculpture, the very constitution of sculpture, as a solid form that has to do with finite geometric constitutions, shapes, and content." When selecting materials, Sze focuses on the exploration of value acquisition–what value the object holds and how it is acquired. In an interview with curator Okwui Enwezor, Sze explained that during her conceptualization process, she wil"choreograph the experience to create an ebb and flow of information [...] thinking about how people approach, slow down, stop, perceive [her art]."
Sze's work is influenced, in part, by her admiration for Cubists, Russian Constructivists, and Futurists. Particularly, their attempt to "depict the speed and intensity of the moment and the impossibility of its stillness."
Sze represented the United States at the Venice Biennale in 2013, and was awarded a MacArthur Fellowship in 2003. Her work has been featured in The Whitney Biennial (2000), the Carnegie International (1999) and several international biennials, including Berlin (1998), Guangzhou (2015), Liverpool (2008), Lyon (2009), São Paulo (2002), and Venice (1999, 2013, and 2015).