Christopher Wool’s act of shaping with copper rods refers to vital experiences and observations from the past. These three -dimensional works, produced from found wire fragments and similar materials, eventually acquire a spatial or cyclical appearance with poetic rhythm and delicate curves. The bent metal densities that emerge as silent and irregular forms created in space with decentered lines, transforming into sculpture, seem to consist of the union of a complex order or form (a skeleton) reminiscent of industrial remnants with a vital energy.

It is possible to say that the essential impulse characterizing Christopher Wool’s fluid and dynamic sculptural interpretation is also related to the creative gestures that constitute the foundation of his two-dimensional works. It is natural for the artist, who uses the line as a subject/form in all circumstances, to resort to new material possibilities, to reach portable and large-scale forms, with the formation of conditions appropriate to the production process. Therefore, it is evident that these silent sculptures, compatible with natural environments and possessing a kinetic aura, transform into rhythmic representations with their own melodic structures.

monuments of silence growing in space

Christopher Wool, in a sense, creates sensitive forms shaped by behavioral gestures -forms that possess characteristic curves and an energetic linear flow reminiscent of a subject’s characteristic structure-u sing bronze/copper rods. This material production, which gives the impression of being hand-bent and deliberately leaves welding points and connections visible, corresponds to fragmentary forms of reality that are variable and mundane in intellectual terms. In fact, in Wool’s sculptures -which recall the intermediate and transitional layers in his abstract paintings or the lines he recreates through erasure- there exists a mental mobility that can change at any moment. These line sculptures, which acquire an identity equivalent to his paintings, are therefore monuments of silence growing in space, producing new curved lines; they are like components of a memory effort that crystallizes within their own vibrations and copper luminescence. With their knotted, space-extending or curving lines, they constitute a guide that lightens their weight on earth and/yet simultaneously attains existence by acquiring an imposing appearance, revealing the present philosophical and emotional density.

an internal organization transformed into a shadowy imagery

Moreover, these line-object sculptures have become transformed into virtually a silent projection of different industrial waste, a shadowy imagery created by an authentic structural and expressive material. Furthermore, they create a field of attraction that never becomes alienated from the natural environment and/yet also renders the space they occupy complex. In this respect, it is clear that this mass and complexity created by Wool, this metal line display that initially appears to derive from urban aesthetics and chaos, emerges primarily as internal and intellectual organizations. Consequently, the question of how this constructed asymmetric and heterogeneous metal proliferation can become such a convoluted instrument of differentiation may undoubtedly be related to an internal interrogation tested by the power of imagination.

In pursuit of an authentic representation, this tangle of visual language formed by articulation can also be characterized as a variable mental isolation in which the industrial concerns of the day become manifest, corresponding in every case to the compressions and bendings within itself.e veya alternatif ifade önerisi varsa memnuniyetle yardımcı olabilirim.