I came across 'Augmented Objects' - a piece by Camille Henrot made in 2012, in an exhibition at MoMA, New York. This collection of objects have been covered in layers of tar and sand until their identity is barely recognisable. It made me think about Ruth Morgan’s presentation in our recent Picturing the Invisible workshop, and the manner in which we discern evidence from clues and traces.
Here the sculptor rather than revealing is concealing, inviting us to re-trace the process to discover the original object.
While on my visit to Yale last week, in the Yale University Art Gallery I saw Alberto Giacometti’s 'Hands Holding the Void (Invisible Object)' - a sculpture he made in 1934. This is the original plaster from which a number of bronzes were made. It was the first time I had seen the plaster version and the soft white quality of the plaster gives the sculpture an added seen of unworldliness. The hands seem as if to catch something that is both real and yet intangible, a feeling that I’m sure we all share when trying to find expression for truths that we are attempting to grasp.