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Virginia FleckManifestation II2020
2020
About the Item
Artist Commentary:
This kinetic artwork is intended as a gently rotating, dimensional mandala. It has a baroque-upcycled aesthetic that playfully transcends the utility of the can-tab. Sparkling moiré patterns emerge as the artwork rotates slowly. One can experience the artwork as a sparkling, crystalline mystery from a distance, then as a familiar but incalculable marvel up close. Fun fact: it is powered by a disco ball motor
Keywords: kinetic art,sensory art, suspended art, upcycled, sparkling , metal
Details: A kinetic, sensory sculpture made from post-consumer can-tabs, safety pins, steel armature and ceiling mounted motor. 84"l x 44"w x 44"d x 40 lbs. rotates at 1 to 1-1/2 rpm
Artist Biography:
Since 2002, award winning artist Virginia Fleck has been creating ecologically conscious artworks from post-consumer materials, unearthing the hidden beauty of disposable items that continually pass through our hands. Fleck’s work has been commissioned for the permanent collections of the US Embassy in Rwanda, the Marino Golinelli collection in Bologna, Italy, Whole Foods World Headquarters in Austin, TX, Facebook Austin, TX, NYU Langone Hospital in NYC, Dell Children's Hospital in Austin, TX. Fleck’s work has been exhibited in galleries in the US including: the Nancy Hoffman Gallery, NYC, The Nathan Cummings Foundation, NYC, St John’s University NYC, Holly Johnson Gallery, Dallas TX, Finesilver Gallery, Houston, TX, Blue Star Art Museum, San Antonio, TX. Her honors include being named “Best Individual Artist” by the Austin Critic’s Table Awards, FBAIR Residency, Jurors Award- TX Biennial, Artist Residency/Fellowship, and Exhibition in Havana, Cuba from Gallery 106, Austin, TX, Artist Residency at the Tinkering Studio of the Exploratorium, in San Francisco, CA. Ms. Fleck’s work has been written about and reviewed on the web and in many paper publications including, American Craft Magazine, Public Art Review, Sculpture Magazine, Metropolitan Home, Western Interiors and Design, Austin Home, Glasstire, Kopenhagen. dk, and Voice of Germany.
- Creator:
- Creation Year:2020
- Dimensions:Height: 84 in (213.36 cm)Width: 44 in (111.76 cm)Depth: 44 in (111.76 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Boston, MA
- Reference Number:Seller: 737631stDibs: LU163429124462
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View AllManifestation I
By Virginia Fleck
Located in Boston, MA
Artist Commentary:
This artwork is intended as a gently rotating, dimensional mandala. It has a baroque-upcycled aesthetic that playfully transcends the utility of the can-tab. The shape recalls a chandelier or and upside-down layer cake. Sparkling moiré patterns emerge in the hanging chains as viewers circumnavigate the art. One can experience the artwork as a sparkling, crystalline mystery from a distance, then as
a familiar but incalculable marvel up close.
Keywords: kinetic art, suspended art, upcycled, sparkling , metal
Details: A kinetic, sensory sculpture made from post-consumer can-tabs, safety pins, steel armature and ceiling mounted motor. 84"l x 55"w x 55"d. 65 lbs. rotates at 1 to 1-1/2 rpm
Artist Biography:
Since 2002, award winning artist Virginia Fleck...
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Artist Commentary:
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Keywords: abstract, yellow, tire, canes
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21st Century and Contemporary Abstract Abstract Sculptures
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Oswald Home Laundry
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Artist Commentary:
It all starts with Linnie Rose Oswald. She was my Great-Grandmother, the eighth of Elnore Rose's nine children. (All but one were girls.) During the 1920s she operated her own business and posed for a photo beside the laundry's vehicle. Family stories tell of a feisty red-headed woman with a will of iron, a temper, and a very strong work ethic who drove down the middle of Huntington, West Virginia's city streets as if she owned them. In all likelihood, Linnie needed these qualities. Being a female business woman in this era had to be hard! She would have gotten the right to vote around then. Later, Linnie owned almost a block of town and rented apartments. I remember her from the days when managing her apartments was problematic. Linnie lived to be ninety-six years old but dementia took her years beforehand. I was in college when she died in a nursing home in Kentucky. The last time I saw her, she wasn't aware of the visit. Her mind was elsewhere ... talking about the clothes she was making and the quilts she would stitch. What a woman!
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