Since the early 1990s, she has been identified with large ambitious works which alter public spaces to glorious effect. Pedro Cabrita Reis: One after Another, A Few Silent Steps, Ostfildern 2010.ĭoes this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.A highly respected New Zealand artist, Judy Darragh is known for her brightly coloured sculptural collections of found objects, recycled items, industrial materials and much more. (Quoted in Kunsthaus Graz 2008, p.35.)įurther reading Pedro Cabrita Reis: True Gardens, exhibition catalogue, Kunsthaus Graz 2008. The materials I use, like glass for example, imply formal and conceptual qualities of transparency, opacity, light, verticality, dealing with, and incorporating in the way they are used, the lexicon of the classical approach to painting and I want to be understood as that. When I use glass or fluorescent tubes, plaster, wood, steel or poured paint, it’s still about the vocabulary of painting. I have extended painting to other levels, by doing sculptures, installations, appropriating space … the perception we have of them is built upon, and comes to us, as only painting could. In explaining this stance, he has stated: However, according to the artist, his works should be read in relation to painting. Critical discussion surrounding Cabrita Reis’s practice is often situated within a discourse about sculpture. An encounter with his works often leaves the viewer uncertain as to whether or not they are completed art works. Pedro Cabrita Reis’s art is characterised by the use of industrial materials and the theme of construction is a consistent motif in his sculpture. Pakesh goes on to sum up this duality inherent in the work: ‘the questions that arise involve construction and deconstruction, continuity and dis-continuity, play and the opposite – in short, a symphony of visuality and spatiality’ (Kunsthaus Graz 2008, p.7).
The work physically demands space, as well as time spent in the gallery, in order to examine and experience it. Curator Peter Pakesch has noted about Cabrita Reis’s work, ‘he occupies space, comments on space, narrates space’ (Kunsthaus Graz 2008, p.7). The architectural quality of Limbo also explores the occupation of space by the artwork and the viewer. By re-interpreting and reducing an architectural structure to a gallery-based sculpture, the artist places the work in dialogue with art historical precedents such as minimalism and post-modernist sculpture. Limbo’s formal properties highlight the interplay between sculpture and architecture. This body of work can be characterised as being large in scale, stark white and minimal in appearance.
#Limbo artist series#
Limbo belongs to a series of works that Pedro Cabrita Reis began to produce in the 1990s of fountains, canals and aqueducts. It was subsequently remade by the artist for an exhibition in 2009, using the original specifications. The work was originally made in 1990 but was destroyed due to poor storage conditions and water damage. The title Limbo refers to a semi-state between two places. It appears to be half way through its construction the joins between the panels of wood and the nails used to hold them together are visible, giving the impression that the sculpture is unfinished or an architectural prototype. Limbo is a sculpture in wood and plaster representing an aqueduct or waterway.
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