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Untitled
Original title: Sin título
1993
Piano, eight chairs, pieces of wood and hooks
Dimensions: 240 x 310 x 440 cm
Reference: ACF0529
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From the early 1990s, Cragg worked on a number of projects related to the environment and architecture (Subcommittee, 1991; Secretions, 1995, and others). This piece should be seen in the context of productions in which, rather than being reduced to occupying a space, sculpture becomes a strategy for building one, a way of creating an environment. From this perspective, while Untitled (1983) is immersed in the symbiosis between sculpture and painting, this work takes sculpture towards architecture. In this particular construction—in which we can see a piano, some chairs and various pieces of wood that help with the overall recreation of the context—the most enigmatic part is undoubtedly the hooks that cover every object in the composition. From the piano to the objects resembling architectural pillars that frame the composition, everything is dotted with hooks that lend the work as a whole a very special visual vibration. This almost atmospheric effect allows us to interpret the use of the hooks as a stratagem for boosting the realism of the construction—a clear aim in all Cragg’s work—for the hooks could well be a way of simulating musical notes that pervade the setting. In spite of this reading, we should bear in mind that during this period Cragg was also very interested in the effect produced by objects with skins that were scratched, blistered or lined with various materials. There are other works in which he uses hooks (Angels and Other Antibodies). Whatever the materials and techniques he employs, though, this is an investigation that should be interpreted in parallel with the characteristic recomposition of things made up of scattered fragments; here it is a matter of diversifying the object, not because it is itself an accumulation, but for its possible epidermic multiplication, as if it were on its skin that the object reveals the effect of its circumstances. The proliferation of disagreeable textures was also interpreted at a particular point in Cragg’s career as a way of putting in doubt the proximity of objects, the hypothetical facility with which we appropriate them to make practical and profitable use of them.

Other artworks in the Collection by the same artist Other artworks in the Collection by the same artist

  • Untitled / 1983

  • Mollusk / 1987

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