wood, acrylic, pigment, graphite, 96″ x 48″ x 48″
(Based on Giambologna‘s 1582 sculpture “Rape of the Sabine” in the Loggia dei Lanzi, Florence.)
Without trying to over-think or overstate my intent –as is my want– while developing Complicit I was thinking about Western methods of icon representation, namely billboards and the utilitarian, schematic and architectural systems we use to present imagery. Comparing this to the often propagandistic, large scale sculpture of the late Renaissance I was taken with the flat frontal quality of modern imagery. In an effort to confound this a bit I pulled three separate views of the original “Rape of Sabine” sculpture from the internet, isolating each figure from a different image and angle. This facet of the sculpture engages with the ways of seeing influenced by online imagery and academia, i.e. flat popular imagery used to partially describe three dimensional objects.
As usual, the pattern comprising the center character has been pulled and expanded from the decorative engravings found on a rifle breech. In both this piece and Coercion (see previous post) I have turned the violent character into the pattern man: my not so subtle way of implying violence is linked with culture.
One other facet of consideration that has piqued my interest is that I found several images of restorations taking place on the original sculpture and several modifications in order to make sure it stays intact. In maintaining this sculpture it is constantly under a state of change and maintenance requiring the intervention of architectural scaffolding that often contains and defines the work itself.
Don’t worry… more works to come will deal with this intriguing issue.