talking about cardboard
 
Paper is seductive: I am drawn to the feel of its skin; its lightness and flexibility.
As its incarnation as carton, as container, cardboard carries objects of transport sometimes great distances. It has a history of use; it partakes of a vast and hidden network.
Cardboard is a material free and available down the street.
 
I appreciate the timely paradox of cardboard’s strength and fragility.
Both the tetrahedron shape and the glue I use add strength to these exoskeletal forms.

 After working on several reclining pieces, I made up some rules for the vertical pieces which were to follow. Each vertical piece was to stand on its own. Because of this criterion, building tetrahedron onto tetrahedron, these standing pieces grew in an organic and yet idiosyncratic way into their spiral, coiled forms.
It has been suggested that they evoke an architectural model-an architecture which begins at a molecular level.
 
I am fascinated by the idea that what begins as a basic, geometric (tetrahedron) shape evolves through a process of self-duplication into a linear, curving prototype echoed in the natural world; that what originates as tree (paper’s source) becomes treelike again in its apparent structure.

Though these sculptural works partake of the apparent static materiality of the object, they refer to movement and to the process by which they slowly emerged. The rising forms transform into a linear articulation, and counterpoint the activated, resultant negative spaces around and within their spiral path.

Ii is my intention that the work create an intimate experience for the viewer, through visual metaphor and physical relationship.


Lindsay Iliff, April 2018
 

 

 
 
 
 
 
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