Phyllida Barlow's creations, Holland Taylor in 'Ann,' artists who switched to jobs in tech, and more in our weekly arts newsletter.
Big, indescribably eccentric constructionswrote a prose poem in conjunction with her remarkable show of new sculpture, which was not only made forbut also made in it: The colossal works were constructed from the ground up inside the long, tall, skylighted South Gallery. They inhabit the big, elegant room like pushy, boisterous guests.In the text she recalls a place from her childhood.
Instead, Barlow conjures a gauzy memory, a vague recollection of a ghastly yet wonderful industrial ruin — a “circle of rusted railings, decrepit, close to collapse, ominous.” This “broken construction” happily provided for her and her exploratory kid-pals “threats of danger,” plus wild opportunities to burrow in “somewhere unknown to the rest of the world.”
So, that’s what she has filled the gallery with — big, rough-and-tumble, indescribably eccentric constructions.The objects, many smeared with chalky white plaster or heavy gray cement, a few streaked with reddish pink paint as if a stylish bleed, glance by such recognizable things as rickety staircases leading up to an attic or down to a dungeon.
Up on the room’s mezzanine, blocky, cowled forms suggesting monks lashed together with rubber cord lurk silently, as if in an obscure horror story. Peer into their forbidding black hoods and gaily stitched pieces of hot-pink woolen felt inside invite unexpected visual caresses. The forms of Barlow’s sculptures are none of and all these things, but mostly they are catapults for imaginative engagement. And they nod in the direction of other artists.
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