Iran do Espírito Santo
Dropping Bottles- Sequence, 2014
7 crystal dropping bottles and painted wood shelf
17.4 x 130 x 15.5 cm, 6 7/8 x 51 1/8 x 6 1/8 ins, overall
9.4 x 3.2 x 3.2 cm, 3 3/4 x 1 1/4 x 1 1/4 ins, each
8 x 130 x 15.5 cm, 3 1/8 x 59 1/8 x 6 1/8 ins, shelf
9.4 x 3.2 x 3.2 cm, 3 3/4 x 1 1/4 x 1 1/4 ins, each
8 x 130 x 15.5 cm, 3 1/8 x 59 1/8 x 6 1/8 ins, shelf
AP 1/2 from an Edition of 5 + 2 AP + 1EC
Copyright The Artist
The artist displays an affinity for the readymade while deconstructing our perception of every day objects, capturing the exact moment at which an object becomes something we recognise. The various...
The artist displays an affinity for the readymade while deconstructing our perception of every day objects, capturing the exact moment at which an object becomes something we recognise.
The various shades of coloured crystal of which the small dropping bottles are composed transform the the shape of the vessel. Although we equate the bottle shape with that of function, the enlarged scale and precious material asks us to reconsider its curves and indentation of a utilitarian vessel as those of a minimal form. Espírito Santo presents us with a representation of a representation, developing our sensitivity to the objects that surround us, and the space we inhabit.
“Espirito Santo, who has exhibited consistently since the mid 1980s, has established an aesthetic that reflects his conceptual concerns by means of an obsessive attention to detail in sculptures, drawings, and wall paintings that recurrently explore form, light and spatial folds with an impeccable craftsmanship and a discerning choice in materials…. At the core of the Brazilian artist’s work is an interest in that he describes as the ‘the duality we live in; between the concrete world and that of ideas. It’s an existential human condition; the artworks are a way of negotiating this, a need to deal with immateriality’.” – Camila Belchior. Art Forum, 2011.
The various shades of coloured crystal of which the small dropping bottles are composed transform the the shape of the vessel. Although we equate the bottle shape with that of function, the enlarged scale and precious material asks us to reconsider its curves and indentation of a utilitarian vessel as those of a minimal form. Espírito Santo presents us with a representation of a representation, developing our sensitivity to the objects that surround us, and the space we inhabit.
“Espirito Santo, who has exhibited consistently since the mid 1980s, has established an aesthetic that reflects his conceptual concerns by means of an obsessive attention to detail in sculptures, drawings, and wall paintings that recurrently explore form, light and spatial folds with an impeccable craftsmanship and a discerning choice in materials…. At the core of the Brazilian artist’s work is an interest in that he describes as the ‘the duality we live in; between the concrete world and that of ideas. It’s an existential human condition; the artworks are a way of negotiating this, a need to deal with immateriality’.” – Camila Belchior. Art Forum, 2011.