SEEPS OF WINTER
Suyama Space, Seattle, WA
2008
-
Related articles:
Seeps of Winter Exhibition Catalog 2008
Sculpture 2008
Bellevue Art Museum Exhibition Catalog - Catalani 2008
Bellevue Art Museum Exhibition Catalog - Schnoor 2008Seeps of Winter is inspired by an imagined view looking upward from within a peat bog. With a gentle nudge from below, the sculpture was designed to swing freely above viewer’s heads. The body of a humpback whale that washed up on the Washington coast during a residency at the ESPY Foundation (WA) inspired the shape of the sculpture. Experiments with ice casting established the materiality of the sculpture. The title of the sculpture is derived from a poem titled “Bog Queen” by Seamus Heaney in his collection, North.
IMAGES
Seeps of Winter, Suyama Space, Seattle, WA, 2008. Cast from a mixture of newspaper pulp, methylcellulose, wax and fumed silica, the sculpture was suspended five feet above the floor of the exhibition space. Measuring 10’h x 50’w x 30’l, the sculpture filled the footprint of the space leaving a one-foot gap around its perimeter.
SEEPS OF WINTER
Suyama Space, Seattle, WA
2008
Related articles:
Seeps of Winter Exhibition Catalog 2008
Sculpture 2008
Bellevue Art Museum Exhibition Catalog - Catalani 2008
Bellevue Art Museum Exhibition Catalog - Schnoor 2008
Seeps of Winter is inspired by an imagined view looking upward from within a peat bog. With a gentle nudge from below, the sculpture was designed to swing freely above viewer’s heads. The body of a humpback whale that washed up on the Washington coast during a residency at the ESPY Foundation (WA) inspired the shape of the sculpture. Experiments with ice casting established the materiality of the sculpture. The title of the sculpture is derived from a poem titled “Bog Queen” by Seamus Heaney in his collection, North.
IMAGES
Seeps of Winter, Suyama Space, Seattle, WA, 2008. Cast from a mixture of newspaper pulp, methylcellulose, wax and fumed silica, the sculpture was suspended five feet above the floor of the exhibition space. Measuring 10’h x 50’w x 30’l, the sculpture filled the footprint of the space leaving a one-foot gap around its perimeter.
Newspapers were ground to pulp and mixed with methylcellulose, wax, and fumed silica. The pulp was applied to carved foam forms using thin netting as a release. After air-drying the molds, thin rigid sections were removed and fused together using more raw pulp. The rigid groups of skins were bonded to plywood structures that bolted to one another. When all of the sections were suspended and bolted together for the exhibition, more raw pulp was applied to cover the seams between sections. Rip lines were embedded in the pulp seams in order to separate the sections at the close of the exhibition.
PROCESS