Exhibition Link to Lie and Wait @ Tony Wight Gallery 2011    Press release
 Existing between hand-finished and mass-produced objects, Sterling Lawrence’s recent body of work includes large inkjet-print gradients and sculptural forms resembling furniture. The sculptures are reminiscent of furniture but deprived of their imagined utility: unplugged lamps, empty tables and coat racks without coats. They alternate between formal sculpture and furniture, between the attribution of meaning and the attribution of use, addressing the definition of sculpture, its outward form and function. Lawrence’s prints and sculpture create an absorptive environment. The gradients are printed on backlit film traditionally used in transparency boxes. The translucent material shows the color of the wall, imitates the banding of interior lighting and fills the nearby space with its particular hue. The sculptures take the color of their environment while the prints fluctuate between a backdrop and a potential image, projecting color out into the space, all with an underlying tension: Where am I supposed to stand?  If the story ever had a start it might go like this: The horizon is always receding. Practice is like washing. The more you practice the more you can see how much more you have to work.
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  Exhibition Link to Lie and Wait @ Tony Wight Gallery 2011    Press release
Exhibition Link to Lie and Wait @ Tony Wight Gallery 2011Press release
 Existing between hand-finished and mass-produced objects, Sterling Lawrence’s recent body of work includes large inkjet-print gradients and sculptural forms resembling furniture. The sculptures are reminiscent of furniture but deprived of their imagined utility: unplugged lamps, empty tables and coat racks without coats. They alternate between formal sculpture and furniture, between the attribution of meaning and the attribution of use, addressing the definition of sculpture, its outward form and function. Lawrence’s prints and sculpture create an absorptive environment. The gradients are printed on backlit film traditionally used in transparency boxes. The translucent material shows the color of the wall, imitates the banding of interior lighting and fills the nearby space with its particular hue. The sculptures take the color of their environment while the prints fluctuate between a backdrop and a potential image, projecting color out into the space, all with an underlying tension: Where am I supposed to stand?  If the story ever had a start it might go like this: The horizon is always receding. Practice is like washing. The more you practice the more you can see how much more you have to work.
Existing between hand-finished and mass-produced objects, Sterling Lawrence’s recent body of work includes large inkjet-print gradients and sculptural forms resembling furniture. The sculptures are reminiscent of furniture but deprived of their imagined utility: unplugged lamps, empty tables and coat racks without coats. They alternate between formal sculpture and furniture, between the attribution of meaning and the attribution of use, addressing the definition of sculpture, its outward form and function. Lawrence’s prints and sculpture create an absorptive environment. The gradients are printed on backlit film traditionally used in transparency boxes. The translucent material shows the color of the wall, imitates the banding of interior lighting and fills the nearby space with its particular hue. The sculptures take the color of their environment while the prints fluctuate between a backdrop and a potential image, projecting color out into the space, all with an underlying tension: Where am I supposed to stand?If the story ever had a start it might go like this: The horizon is always receding. Practice is like washing. The more you practice the more you can see how much more you have to work.
-1.jpg
84_sl-install-4.jpg
84_sl-install-5.jpg
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