Description
About the Artwork:
I was working with a curator last year that encouraged me to “consider integrating pops of color.” I worked on some compositions with primary colors, disliked them, and promptly stashed them under my fabrication table for a bit of experimentation. This one lay there, beneath construction of many steel polyhedra sculptures, collecting glittery metal shavings, weld spatter, and burn holes. Over time I decided that the canvas may well be activated by a figure in the ground, so I painted this vignette from a source image taken at a waterfall hike. It’s a bit on-the-nose, but to me, the feet point to Aristotle’s notions of grounded-ness or rootedness of the Forms as embedded in particulars. I like the palmate burst of shadows on the feet mirroring the form of the polyhedron. Incidentally, I tend to weld barefoot in my studio, collecting weld spatter on my own incarnate feet.
About the Artist:
Marina Claire constantly manipulates the physical: metal, paint, ink, and bodies. While their hands bend, heat, and brush, their mind hovers in geometries. Plato’s inquiries into the timeless perfection of imagined geometric shapes, and into how geometries might lie behind all nature, inspire them to make objects that (though necessarily imperfect because they will never have perfect straight edges, and must eventually erode) tease our minds toward the perfect. The objects they make ask viewers to drift within that gap between the non-physical, conceptual realm and our tangible, sensory experience.
