Red Shields, 1999

In Red Shields, 1999, I worked with a rich red-brown color. I used the shape of the shields in order to define objects that have the sense of the corporal, but have an organic directness. Red Shields is a work that consists of three elements - sculptural forms that are constructed out of plaster over wire. The surface is finished with an application of iron oxide powder. The three objects are based on earlier investigations of the shape of a sand-dollar, following pieces/ideas like "White Shield", 1998 or "reflection/shield (maquette)", 1998-1999.

Their scale is chosen in regard to the human body: a standing, shield-like form is big enough to give shelter, a similar form is bent over, reaches out from the floor and turns into a sheltering cave. It encourages an urge to investigate while bending down and crawling. The third element, as well bent over so that just the edges touch the floor, echoes the moment of balance just before the uplifting from the floor or the moment of balance before coming to a rest. Capturing an active space under itself, the form still holds the potential of a protective, crustaceous shield. (For what - you do not know.) The material, the size and the particular and individual shapes of each of the single elements situates them as things next to us that echo either human or beast defined in the nature of an object.

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3 elements, plaster over wire, pigment; shield 1: 59” x 6” x 64” (150 x 15 x 163 cm); shield 2: 61” x 59” x 17” (156 x 150 x 43 cm); shield 3: 62” x 31” x 33” (157 x 78 x 85 cm)

The forms oppose the viewer as things that respond to human conditions. They embrace the space with an uprightness and an energy that echo the corporeal, yet the rich red-brown colour connects them to the natural, the earth. Both references are manifested in the qualities of the object that is situated in the context of art as a thing that is made, a cultural expression in form.

All the forms have a distinct edge, incised by a groove. The edge marks the inherent duality of the form and divides it into two parts that connect in order to form an inside. A small hole in the back/ bottom part of the form emphasises this idea of an inner core. It talks about an unknown component - alludes to an inner breath. It talks about an identity, not defined yet suggested through the logic of form.

This identity of the unknown in an object reflects on our urge of self-definition. Like most of my newer work, this piece alludes to the essence of an encounter - an encounter with form as a thing - and the thing as equal companion. This essence seems to be desire - the human desire to interact with inhuman form.

» see also "The Red Shield"

» Review "Being here: The Sculpture of Vanessa Paschakarnis" by Ray Cronin