Sheila Hicks: VERS DES HORIZONS INCONNUS
Past exhibition
Overview
Sheila Hicks
VERS DES HORIZONS INCONNUS, 2023
Pigmented acrylic fibers
500 cm (196 7/8 in.)
galerie frank elbaz, galleria Massimo Minini, and Meyer Riegger are pleased to present an outdoor installation by Sheila Hicks at the Parvis de l’Institut de France during Paris + by Art Basel.
The concept of infinity embodies the column erected by Sheila Hicks on the square in front of the Institut de France.
Infinity, as a limit, is as indefinable as it is unattainable: infinity as a way of approaching the sky, infinity as a promise of unexpected discoveries and of exploring the unknown.
Just like Constantin Brancusi's Endless Column (1938), the verticality of Sheila Hicks’ sculpture imposingly challenges space by seemingly pushing its boundaries, as if to “burst through the ceiling”—as if to directly ascend upward in the hopes of reaching an indefinable beyond.
The fibers, made up of mineral pigments from Turkey combined with acrylic, once twisted, constitute threads that build the ensemble. Through a process of added material (rather than subtracted, as often in the case in sculpture)—which also verges on the idea of advancing towards infinity—the column mixes a variety of colors, conferring on the whole an alternating character, depending on the 360-degree rotation.
In doing so, the work evolves and changes, delivering images and perceptions which also seem to be infinite.
Infinity, as a limit, is as indefinable as it is unattainable: infinity as a way of approaching the sky, infinity as a promise of unexpected discoveries and of exploring the unknown.
Just like Constantin Brancusi's Endless Column (1938), the verticality of Sheila Hicks’ sculpture imposingly challenges space by seemingly pushing its boundaries, as if to “burst through the ceiling”—as if to directly ascend upward in the hopes of reaching an indefinable beyond.
The fibers, made up of mineral pigments from Turkey combined with acrylic, once twisted, constitute threads that build the ensemble. Through a process of added material (rather than subtracted, as often in the case in sculpture)—which also verges on the idea of advancing towards infinity—the column mixes a variety of colors, conferring on the whole an alternating character, depending on the 360-degree rotation.
In doing so, the work evolves and changes, delivering images and perceptions which also seem to be infinite.
-Frédéric Bonnet
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