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Jane BalsgaardPaper Sculpture IV, Abstract boat sculpture by Jane Balsgaard2020
2020
About the Item
Paper Sculpture IV (2020) is part of a series of abstract boat-like objects by Danish sculptor, Jane Balsgaard. The minimalist construction consists of bamboo, piassava, willow, fishing line, Japanese and handmade plant paper. It is displayed in a uniquely dynamic plexi box and can be placed on a surface such as a desk, table or countertop as well as hang seamlessly off the wall.
Balsgaard is often known for her use of wood and paper to create objects that reference boats and sails and wings, referencing the old as well as the organic by sometimes incorporating artifacts in her works.
- Creator:Jane Balsgaard (1939, Danish)
- Creation Year:2020
- Dimensions:Height: 14 in (35.56 cm)Width: 13.5 in (34.29 cm)Depth: 5 in (12.7 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Wilton, CT
- Reference Number:
Jane Balsgaard
Jane Balsgaard of Denmark is known for using wood and paper to create objects that reference boats and sails and wings, referencing the old as well as the organic by sometimes incorporating artifacts in her works. Balsgaard spent time in Japan in 1993 and 1998, preparing for exhibits there. Works of paper and twigs were the result. In her work, white paper often contrasts the dark color of the willow twigs. “Another element in her works that has connection to Japan,” writes Mirjam Golfer-Jørgensen, “is the skeleton, that partly frames the paper, partly combines with the hollows in the construction, and gives another character to the paper that with a lightness that creates a contrast towards to the hollows.” (Influences from Japan in Danish Art and Design 1870 – 2010, Mirjam Golfer-Jørgensen, Danish Architectural Press, 2013.) Balsgaard describes the development of her process, choice of materials, and artistic journey: "I had studied sculpture at the Royal Danish Art Academy and at first I was not interested in working with paper. But the possibility of breaking the law of gravity with light, airy works tempted me. So I joined a course in paper sculpture at the Pacific Basin School of Textile Art in Berkeley in 1983. I have been working with plant paper ever since, experimenting with expressions in paper in connection with sticks and other finds from nature. I keep a large collection of natural materials for use in my work and I have tested most of the plants for papers in my garden. I have discovered the best seaweed comes from the fjord by my summerhouse. Some of the plants I treat in the old arte povera concept, forcing them to grow in another direction in order to fit in the shape of a future sculpture."
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