In the late 1960s Lynda Benglis became famous for her radical re-envisioning of sculpture and painting through her early works using wax and latex, which she poured on to the ground to take painting off the canvas and into architectural space. Referencing the body and the natural world, she later began using polyurethane to create larger volumes that rise from the floor and cantilever off the wall, which she describes as “frozen gestures”–some containing phosphorescence that glows in the dark. This sculpture was made after her recent return to using polyurethane material cast with a translucent glow which gives a sense of movement and fluidity. Like the earliest work, these forms speak to Benglis’ ceaseless experimentation with material and forms, constantly generating the unexpected and entirely new.
Courtesy of Hepworth Wakefield
Cast phosphorescent polyurethane sculpture
15.98 x 7.99 x 1.97 in
40.6 x 20.3 x 5.0 cm
This work is signed and dated on the base.
In the late 1960s Lynda Benglis became famous for her radical re-envisioning of sculpture and painting through her early works using wax and latex, which she poured on to the ground to take painting off the canvas and into architectural space. Referencing the body and the natural world, she later began using polyurethane to create larger volumes that rise from the floor and cantilever off the wall, which she describes as “frozen gestures”–some containing phosphorescence that glows in the dark. This sculpture was made after her recent return to using polyurethane material cast with a translucent glow which gives a sense of movement and fluidity. Like the earliest work, these forms speak to Benglis’ ceaseless experimentation with material and forms, constantly generating the unexpected and entirely new.
Courtesy of Hepworth Wakefield
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