Зе, Сара
サラ・セー

source: columbiaedu

Sarah Sze has built a longstanding relationship with the LeRoy Neiman Center which stretches over a decade of projects. Her first experience in the Center’s shops was in 2000. Coming into the studio, she set out to tackle on oversize format, juxtaposing her elegant architecturally rendered images in a multilayered print titled Day. Using a multitude of layered runs in color photo offset lithography and silkscreen, the artist incorporated many aspects of her drawing. Day (first version, edition of 10) brought this spatial artist back into the two dimensional composition format and resolved into a pair of prints, editions of 27 each, titled Day (version II) and Night. These three prints reflect each other in size and scope and each show intricately mapped out skies. They exude a kind of cosmological architectural schematic space on cream and dark blue grounds.

“These works investigate movement, disintegration, and disorientation. Here I wanted to enter a two-dimensional frame and find a location that is entropic, fragmenting, spinning, and adrift. These drawings frame a fragment of a larger system that could potentially expand beyond the frame. They start from an exploration of atmosphere, fleeting situations, and environments with a specific kind of weather.”

Following her successful experience on these projects, Sze returned to the Center in 2007 to build a 3D multiple utilizing the shop’s new laser engraver. The project she envisioned became an appropriated version of a composition pad, titled Notepad. Positioned on the wall – the piece gently unfurls its individual sheets over a miniature paper model of a fire escape with ladder.

“I am interested in an object or image that plays with the state of its own existence; for example, a pad of paper that is carefully printed rather than mass produced, or a collage that seems to be falling apart as much as coming together, in other words, its parts are holding the picture plane together and yet still maintaining their identity (as a rock or an envelope).”

Sze returned to the Center in 2011-12 to further investigate the process of sight. She conceived of a project to decontextualize the design of the Ishihara color blindness test and to reinterpret the form of the traditional eyechart. The two projects editioned: 2 (a set of 6 prints in color silkscreen) and Eyechart (a playful 3D pop up eyechart). These projects were included in her solo exhibition, Sarah Sze: Infinite Line, at The Asia Society, NYC, on view from December 13 – March 25, 2012.

The LeRoy Neiman Center’s most recent project with Sze, started in the summer of 2012. The work resolves as a very striking black wall multiple titled, Checks and Balances. It moves the artist’s explorations further into 3D territory and relates in composition closely to her recent site work. Using the shop’s laser technology, the artist cut a scrolling form in filigree black paper. This form intricately duplicates her linear drawings and then combines with her use of found material – ie. black painted string, blue plastic push pins and black painted stones. Images found in the work are such recognizable silhouettes like a miniature floating Coliseum and her recurring spiral staircases.

Sarah Sze is a sculptor who lives and works in New York City. She received her BA from Yale University in 1991 and an MFA from the School of visual Arts in 1997. She is currently a faculty member in the School of the Arts at Columbia University and teaches the MFA Advanced Printmaking course with Kiki Smith and Valerie Hammond every spring term. She has received many awards, including a Radcliffe Institute Fellowship (2003); John D. and Catherine T. MacArthur Foundation Fellowship (2003); Louis Comfort Tiffany Award (1999); and the Rema Hort Mann Foundation award (1997). Major exhibitions of her work have appeared at the Asia Society Museum, NYC (2012 – as mentioned above); 10th Biennale de Lyon (2010); BALTIC Centre for Contemporary Art (2009); Malmo Konsthall (2006); Whitney Museum of American Art (2003); Walker Art Center (2002); Sao Paulo Bienal (2002); Museum of Contemporary Art, Chicago (1999), Foundation Cartier pour l’art Contemporain, Paris (1999), the Carnegie International (1999), and the 48th Venice Biennale (1999).
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source: bronxmuseumorg

SARAH SZE

Since the late 1990s, the artist Sarah Sze has composed ephemeral installations that penetrate walls, hang from ceilings, and burrow into the ground. Whether installed in a gallery, a domestic interior, or on a street corner, Sze’s immense yet intricate site-specific works both respond to and transform their surroundings.

Born in Boston in 1969, Sze has been the recipient of the prestigious MacArthur Fellowship in 2003, a Radcliffe Fellowship in 2005, and the Louis Comfort Tiffany Award in 1999. Most recently, the Asia Society in New York presented a solo show of her work, “Sarah Sze: Infinite Line” (December 2011-March 2012). Her installation for the High Line in Manhattan, Still Life with Landscape (Model for a Habitat), is an elaborate “metropolis” of perspectival architectural models bisected by the High Line’s path itself. The piece won a 2012 International Association of Art Critics award for “Best Project in a Public Space.”

Sze’s practice exists at the intersection of sculpture, painting, and architecture. It demonstrates the artist’s formal interest in light, air, and movement, as well as an intuitive understanding of color and texture. Sze utilizes a myriad of everyday objects in her installations, ranging from cotton buds and tea bags to water bottles and ladders, light bulbs and electric fans. Presented as leftovers or traces of human behavior, these items, when released from their commonplace duty, possess a vitality and ambition within the work. Sze’s careful consideration of every shift in scale between the humble and the monumental, the throwaway and the precious, the incidental and the essential, solicits a new experience of space, disorienting and reorienting the viewer at every turn.
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source: acasculptureblogspot

“Sarah Sze crée des sculptures éphémères liées à un lieu précis. Elles sont construites avec des milliers de petits objets de la vie courante, assemblés en des formes à la fois maîtrisées et irrationnelles. Créant des réseaux de sens et d’associations impossibles, échelles, plumes, tiges, ciseaux ou morceaux de polystyrène s’élancent dans l’espace et l’envahissent totalement pour constituer une vaste sphère. Chaque objet appartient à un tout : dans une théorie du chaos chaque fois reformulée, les oeuvres de Sze forment un mélange de hasard et d’équilibre fragile qui déconstruit l’espace autant qu’il crée des mondes possibles. Un étrange écosystème, à la manière d’un cycle de transformation et de recyclage, de croissance et de mort : les installations de l’artiste incorporent les contingences de l’instant et du site (le mouvement de l’air, l’orchestration du poids des objets ou les couleurs qui se fanent) ; une fois l’exposition finie, l’oeuvre de Sze est démontée et ses matériaux sont conservés pour une réutilisation future dans une nouvelle sculpture.”
Voir son site http://www.sarahsze.com/
Elle expose actuellement à la Xème Biennale de Lyon. (Il sagit ici du texte de présentation de son travail sur le site de la biennale)

Nous vous avions déjà parlé de la biennale il y a quelques mois suite au départ de la première commissaire Caroline David; cette charge ayant été reprise tardivement par le Chinois Hou Hanru. Cette fois on y est, du 16 septembre au 3 janvier 2010, et en quelques chiffres :
quatre lieux ( le Musée d’art contemporain, la Fondation Bullukian, l’Entrepôt Bichat et la Sucrière); trente-cinq oeuvres réalisées spécialement par les artistes pour cette Biennale et
un programme d’une centaine de manifestations.
“La Biennale est construite selon un modèle qui intègre plusieurs dimensions, parce que le thème recouvre plusieurs facettes. J’ai donc organisé la Biennale selon 5 piliers qui se retrouvent facilement au fil de l’exposition. Quand vous aller découvrir Le spectacle du quotidien, vous allez explorer « La Magie des Choses », qui vous propose le travail d’artistes qui modifient des objets, des situations du quotidien en de nouveaux horizons esthétiques et posent ainsi des questions d’ordre social, historique et politique. « L’Eloge de la dérive » s’intéresse aux artistes qui interviennent dans l’espace urbain et créent des formes artistiques qui résistent à l’ordre et aux contraintes spatiales.« Vivons ensemble » explore le dialogue entre la ville et les communautés qui l’habitent, alors que « Un autre monde est possible » reçoit la parole d’artistes qui examinent la réalité de façon critique et imaginent de nouveaux ordres sociaux parfois utopiques. Très proche de ce dernier pilier, il existe un projet qui s’appelle « Veduta » et qui inverse la proposition habituelle de l’art. Au lieu de faire venir le public voir des œuvres d’art, on fait aller les œuvres d’art vers le public et ce dans des quartiers en renouvellement urbain. Veduta, c’est en réalité la Biennale près des gens, chez eux. En proposant des expériences inédites autour de l’art contemporain, on essaie de nouer un dialogue, de parler d’art ou de tout simplement le regarder.”