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Liz Hickok
Camelback Mountain, Scottsdale in Jell-O

2007

$1,250
£929.79
€1,088.60
CA$1,744.17
A$1,951.78
CHF 1,019.13
MX$23,995.11
NOK 12,857.47
SEK 12,098.82
DKK 8,121.78
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About the Item

"I create glowing, jellied scale models of urban sites, transforming ordinary physical surroundings into something unexpected and ephemeral. Lit from below, the molded shapes of the city blur into a jewel-like mosaic of luminous color and volume. The gelatinous material also evokes uncanny parallels with the geological uncertainties of San Francisco’s landscape. While the translucent beauty of the compositions first seduces the viewer, their fragility quickly becomes a metaphor for the transitory nature of human artifacts. I have always been interested in architectural scale models of cities, and how photography can play with the viewer’s sense of scale, blurring differences between the real city and the constructed one. Once I began building my own model cities out of Jell-O I found that the jiggly, iconic childhood dessert is not only perishable, but also uncontrollable. Each time I take a picture of one of my cityscapes any building may begin to sweat or even liquefy, taking on a new persona. My constructions often exist only in my studio; however, I occasionally create Jell-O installations, which people can experience directly. While the photographs evoke strange imaginary landscapes, the installations themselves introduce a more physical experience for the viewer involving smell, movement, and the desire to taste. The sculptures eventually decay, leaving the photographs and videos as the only record of their existence." – Liz Hickok
  • Creator:
    Liz Hickok (American)
  • Creation Year:
    2007
  • Dimensions:
    Height: 14 in (35.56 cm)Width: 30 in (76.2 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Sante Fe, NM
  • Reference Number:
    1stDibs: LU13421015643

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Yosemite Gateway No. 3 (with 3D printed landscape)
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Mt. Nebo No. 5
By Edward Bateman
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For those of us who live in the West, mountains are more than just landmarks; they dene a sense of home. We have memories associated with our mountains; those we grew up surrounded by; remembering the rst time we saw one, and the people we visited them with. This gave us all a larger sense of where we locate home. During our recent pandemic, home shrunk to the walls that surrounded us. Real experiences became mediated through computers and the Internet – but something felt lost: a living connection with things bigger than ourselves. But we kept our memories – waiting to be triggered by a photograph or reminder of the mountains that could bring back that sense of the sublime. Mountains and nature have long been places of peace and refuge. There are few emotions about places for which adequate single words exist. At the beginning of the eighteenth century, the word sublime arose to describe the feelings that the natural world can evoke in us. At home, on my kitchen table, I have been trying to capture something of that sublime in bits of plastic. Using geographical data from the Internet, I used my 3D printer to make the memories of those mountains tangible. With a small fog machine, I create atmospheres and clouds. Sunlight through a window illuminates some, while others were lit with a variety of sources including ber optic lights used for microscopy. For me, these images evoke the place I call home; and remind me that it is our memories that make a place special. At Home in the West was created as a companion to Yosemite: Seeking Sublime, which premiered at photo-eye Gallery in November 2020. In December of that year, work from that series was invited to the Art of Staying at Home; Artists in the Time of Corona exhibition at the Bibliotheca Alexandrina in Egypt, where I was the only U.S. artist from eight countries included. Additional works from that series will soon be exhibited at the Krakow Triennial in Poland and at the Earth Photo...
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