Laura Vinci
Laura Vinci is interested in moments of rupture. After abandoning painting early in her career, Vinci quickly turned to large-scale sculpture and installation. Her work stages interventions in space both public and private that insist viewers become participants. Whether hanging netted lights from the ceiling, filling the floor with apples, or connecting a network of heated marble pools of water, Vinci explores transformation, building environments where change happens both before us and because of us. In Máquina do mundo (2005), Vinci places two mounds of marble in powder form on either side of a conveyor belt. As the grains are moved across the gallery, Vinci creates an entirely new context for a medium that has been used in sculpture since Ancient Greece. The process, the change, and transition are more important than stability of a static object. Like much of the artist’s work, the piece is truly activated by viewers navigating their way through the elements that structure the space. When she does work two dimensionally, form is still the focus. Vinci’s drawings are studies for sculptural environments to come. Vinci has exhibited heavily in her home country in both solo and group exhibitions. Her work is featured in several …
Laura Vinci is interested in moments of rupture. After abandoning painting early in her career, Vinci quickly turned to large-scale sculpture and installation. Her work stages interventions in space both public and private that insist viewers become participants. Whether hanging netted lights from the ceiling, filling the floor with apples, or connecting a network of heated marble pools of water, Vinci explores transformation, building environments where change happens both before us and because of us. In Máquina do mundo (2005), Vinci places two mounds of marble in powder form on either side of a conveyor belt. As the grains are moved across the gallery, Vinci creates an entirely new context for a medium that has been used in sculpture since Ancient Greece. The process, the change, and transition are more important than stability of a static object. Like much of the artist’s work, the piece is truly activated by viewers navigating their way through the elements that structure the space. When she does work two dimensionally, form is still the focus. Vinci’s drawings are studies for sculptural environments to come. Vinci has exhibited heavily in her home country in both solo and group exhibitions. Her work is featured in several national collections.
Pinacoteca do Estado de São Paulo, Brazil
Centro Cultural São Paulo, Brazil
Inhotim, Brumadinho, Brazil
Museu Nacional de Belas Artes do Rio de Janeiro, Brazil
Museu de Arte Contemporânea da Universidade de São Paulo, Brazil
Museu de Arte Moderna de São Paulo, Brazil
Galeria Nara Roesler, São Paulo, Brazil
