Owls to Athens, 1997
We rarely address the ceiling, except as a place from which to hang or float stuff in the air. (In Latin: tectum=ceiling, roof, hence, architecture). In Owls to Athens, the pillows/pillars come out of the couch and hit the ceiling, recalling the work of Donald Judd, but also Claes Oldenburg and Matta-Clark, the Caryatids, pillars of the home and family. In the process, the cushions become the architectural column that holds up the building as well as expansive forces that push the ceiling outwards, as if from a sense of domestic claustrophobia. Interior and exterior supports become one. This sculpture then calls attention to my interest in domesticity and architecture, layering, verticality through horizontality, and also perhaps the erotics of couches.
We rarely address the ceiling, except as a place from which to hang or float stuff in the air. (In Latin: tectum=ceiling, roof, hence, architecture). In Owls to Athens, the pillows/pillars come out of the couch and hit the ceiling, recalling the work of Donald Judd, but also Claes Oldenburg and Matta-Clark, the Caryatids, pillars of the home and family. In the process, the cushions become the architectural column that holds up the building as well as expansive forces that push the ceiling outwards, as if from a sense of domestic claustrophobia. Interior and exterior supports become one. This sculpture then calls attention to my interest in domesticity and architecture, layering, verticality through horizontality, and also perhaps the erotics of couches.
