Author Description

"What connects Benglis's metalized pleats and ceramic works, besides the sometimes shared device of the knot, is the spontaneous directness of her methods, as well as that affinity for fluid materials, which so readily articulate directness," Art historian Anna C Chave notes in her essay accompanying the exhibition at Locks Gallery. The selected works present a comprehensive view of Benglis' work and mindset during the 1980s and early '90s. To create the Pleat pieces, Benglis manipulated fragments of folded mesh and sprayed them with liquid metal. The resulting angular exoskeletons are, "buoyantly, ebulliently, kinetically fluid-like giant, festively crinkled, artlessly tied bows undergoing their various twists, turns and knots." The catalog includes signature pieces made in aluminum and copper, as well as early works, often gilded in gold leaf, that recall folded fabric and open fans, Benglis' original inspirations for the series. Benglis' approach to ceramic similarly embraces the performative potential of a malleable material. Her hand kneads and stretches the clay into tumbling forms that seemingly collapse into their own centers, loosely glazed in colors ranging from metallic blacks and vivid golds to earthier shades of red and ochre. At the 1984 World's Fair in New Orleans, Lynda Benglis presented her first-ever fountain; since then she has consistently experimented with water trickling or pouring over her sculptural surfaces. Studio pictures of a new fountain are included in the catalog.