SITE Santa Fe,

Pasatiempo - - On­stage This Week -

by in­cor­po­rat­ing re­flec­tive sur­faces within a maze­like struc­ture. “They’re these in­cred­i­bly se­duc­tive sur­faces that ap­pear to of­fer you ev­ery­thing,” Clax­ton said. “I like that idea that you be­come a part of it. You might not see your­self, but some­one else can see you in it. If you think about the in­ter­net, you’re in these dif­fer­ent places all at the same time, and they’re these slightly dif­fer­ent ver­sions of the world, but none of it’s real. So, that’s what a re­flec­tive sur­face gives you. It seems to of­fer you this other space, this new space. The mir­rors ex­pand it in ways that go be­yond your ini­tial im­pres­sions.”

The el­e­ments that at­tract Clax­ton to the fig­urines she in­cor­po­rates in her sculp­tures have an aes­thetic qual­ity. “They’re ac­tu­ally quite beau­ti­ful ob­jects,” she said. “The glazes on them are quite amaz­ing, and the mod­el­ing is quite amaz­ing. They’re like fig­u­ra­tive sculp­ture but for the do­mes­tic en­vi­ron­ment. They are your kind of Ro­man sculp­ture re­duced down to what will fit on your man­tel­piece, and you can make your worlds with them.” Clax­ton’s fig­urines hark back to a time when the home was a nexus for so­cial in­ter­ac­tion. “They used to be talk­ing pieces, orig­i­nally, for ta­bles,” she said. “You would have your re­ally posh meal, and you’d have your nice talk­ing piece that was the fo­cus for con­ver­sa­tion.”

When ap­proach­ing Clax­ton’s sculp­tures, the viewer ex­pe­ri­ences the for­mal im­pact of the long view, first, be­fore be­com­ing en­tan­gled in the world of il­lu­sions cre­ated by the an­gled mir­rored rings. But, then, it is the al­tered fig­ures, caught up in their own lit­tle worlds — worlds which may be beau­ti­ful — in which we see our­selves re­flected.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.