Project construction 2012. Cut from the painting “Goddess of Love” 200 x 250 cm, 1991, acrylic paint on cloth, wood backing on sculpture, resin, painted fiberglass frame.Share this
Date and origin of the works 1991-2014
These three paintings from the “Forest of Love “ series arose from a feminist impulse: Dame Hubbard, based on the nursery rhyme of Old Mother Hubbard, about women and poverty, women serving others. “Bow-Wow” is a take on the inner, female sex organ and the outer, male one, both capable of reversing position, The Female is about what it says it is about.
The paintings in this series were always conceived as large, even heroic, works of commentary. As the paintings developed they became more abstract: the vivid colors and jagged, rhythmic shapes took on a life of their own, while also showing how abstraction uses memories of form. They became joyous without, for me , losing their overtones of feminism. Seeing them, the British artist Graham Ashton remarked that they looked like Sonia Delaunay on acid, and the dynamic patterning of early Twentieth Century Orphism does have a connection to my work.”the distribution of colors can be effected as well with complex forms” Sonia Delaunay
I set the series aside for a while. I wondered how the works could engage their viewers in a more active and relational way. Out of each work I drew quasi-figurative elements whose meaning had become almost a secret and I decided to let the signifiers loose in the third dimension.
The sculptures are constructed in iron, foam, pvc, polurethane paint and varnish.
The sculptures have stepped out of the frame to occupy the contested space between the eye and the painting, between figuration and abstraction, between the declarative and the ironic.
First of all the sculptures are my own conversation with the painting: even the most deeply meant work can carry an ironic or even comic tinge.What people are hiding in the bushes? Who or what is talking to us in abstraction?
Then, the sculptures, with their funny feet, also converse with the viewer and establish an active relation to the two dimensional work— literally active, because they stand in front of the paintings. Amongst other things they say, you want meaning? Here it is — a witty and touching cast of characters pulled from abstraction and talking to you. They can even walk back and forth as if they were connoisseurs of themselves.
“Dame Hubbard, “Bow-Wow” and “The Female” are the first three of the seven part “Forest of Love” series to be completed. I am currently working on drawing out a cast of characters from the other four.
Barbara Weil as related to the writer Helen McNeilShare this
Studio Weil is a painting and sculpture studio designed and built for the American painter and sculptor Barbara Weil overlooking the sea in Port d’Andratx in Mallorca, Spain. Daniel Libeskind worked closely with Ms. Weil to create a building that not only responds to the surrounding landscape, but also forms a space which complements and contrasts the artist’s work. The building houses exhibition spaces, working quarters and a dramatic landscaped garden.
The studio takes the form of a concrete arc that is cut through with a pair of stairs: one leading up to a roof deck with spectacular views of the sea; the other down from a stone and hardscaped garden that slopes into the ground-floor gallery. The roof holds large scale sculptures, which can be seen from afar.
“Studio Weil is a brave and remarkable structure and a fascinating example of creative synergy between two artists who, unknowingly, had shared something like a common approach to visual form long before Libeskind became news.” –The Guardian (September 2003)
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