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UnknownExtinction Anxiety (Silver) Sculpture by Heidi Schwegler, 20172017
2017
About the Item
Extinction Anxiety (Silver) Sculpture by Heidi Schwegler, 2017
Cast in white gold or rose gold (series of six - one each in 24k gold, white gold, rose gold, 18k gold, silver, and bronze)
Additional information:
Medium: Gold, silver and bronze
Condition: Excellent
Frame: Not included
Dimensions: 1/2 × 1/2 × 1/2 in 1.3 × 1.3 × 1.3 cm
About artist: Heidi Schwegler (b. 1967 in San Antonio, TX) explores a wide range of materials in the service of her subject matter. She is drawn to the peripheral ruin, modifying discarded objects to give them a new sense of purpose. There is an equilibrium inherent in such things – they float between endurance and decay, a living death. In this exclusive ARTSY online exhibition, we survey the recent work of this fascinating artist.
According to Schwegler: I reverse industrial production by abstracting and transforming durable, mass produced “stuff” into fragile, unique works of glass, porcelain, rubber, felt, and gold. Recognizable forms are cast in materials completely antithetical to intrinsic functions. When carefully reconstructed with valuable and worthless materials alike, then placed within the exhibition space, the forms both retain the aura of their original context and implicitly evoke the actions of the careless hands that discard them. By transfiguring these relics of consumption, I seek to create new relationships – at once seductive and alienating – between myself, my viewers, and that which has been discarded. My gambit allows a viewer to experience an object again for the first time. Objects with once-specific intentionality are reframed through the alchemical process of casting with and infused with new allegorical and poetic associations. Glass, in particular, is both limitless and idiosyncratic. Its casting process triangulates failure, the unexpected, the sublime. Within contemporary discourse, the “glitch” is invoked when speaking about accidents in technology, especially in the digital domain: figments, corruptions, and fugitive bits. For me, another kind of glitch occurs in the physical encounter with the discarded. Once collected, stuff becomes fodder for formal and theoretical investigations into mortality and consumption, beauty and waste, desire and humor.
In 2002, at the Metropolitan Museum, a five-hundred year old marble sculpture of Adam fell from its unstable pedestal to the floor, shattering into hundreds of fragments. The museum was faced with a choice: either leave it broken or commit to a restoration, as if the event had never occurred. In the former case, suspending the shattered parts with an elaborate scaffolding system would render the accident as its defining moment. Instead, the museum’s conservationists and forensic specialists spent the next ten years painstakingly repairing the artwork, returning it to its near-original state. I create new ways of thinking about ordinary objects and their inexorable fragmentation. Things break. They no longer do what they were designed to do. Surface damage and wear and tear are visual cues of a thing’s history, their former life of use and purpose. My work amends broken things by recasting and embellishing their materiality. I am reproducing their original ordinariness and reorienting their presence in terms of aesthetic value.
- Creation Year:2017
- Dimensions:Height: 0.5 in (1.27 cm)Width: 0.5 in (1.27 cm)Depth: 0.5 in (1.27 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Orange, CA
- Reference Number:1stDibs: LU2793216070002
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