Jeff Laird                                               SCULPTURE | PHOTOGRAPHY | PAINTINGS

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 CURRENT AND UPCOMING EXHIBITIONS

ART Santa FeJuly 7 - 10, 2016
   Embellished Ready-mades

 
  
RIGHT SIDE UP / UPSIDE DOWN
     BulbTop
, 2016,
natural aluminum, 55" tall                                          PipeDuct/VentBottom, 2016, galvanized steel, 37" tall.


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 perforated  HOOK SHAFTS & Triangular Cylinders

This series is a continuation of the Perforated Triangles (see below) using the recycled 1/4" thick perforated aluminum.  It is an exploration of the nature of verticality and the synthesis of organic and linear shapes.

                                 

     Hook Shaft Yucca, powdercoated aluminum, 10' tall.     Triangular Cylinder Tower (Rust), powder coated, 9' tall.
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      The VERTICAL in Modern Art - Origin of the Hook Shafts

Giacometti.  Bourgeois.  Newman.  Bertoia.  Oldenburg + van Bruggen.  Flavin.  Serra
                                                                                    

Artists have been fascinated with the VERTICAL for eons.  But it wasn't until Alberto Giacometti challenged our perception of the female form in 1947 that the race to discover
the true meaning of vertical began.  Louise Bourgeois's Totems provided an exploration of abstracted perceptual ambiguity.  Barnett Newman's zip paintings and sculptures took it to its' minimalist essence.  Harry Bertoia made vertical sound sculpture.  Claes Oldenburg and Coosje van Bruggen celebrated Chicago's baseball and high-rise architecture with BatColumn.  Dan Flavin illuminated the vertical with flourescent light bulbs.  Finally, the purest expression of vertical appears in the uber-austere edge of a Richard Serra steel monolith in the torrid Arabian desert.  And so the search continues with Hook Shafts.

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      Triangular Cylinders
This series continues the use of the recycled 1/4" perforated aluminum.  It explores the
perceptual ambiguity of the incongruity of our understanding of a triangular cylinder.  The
triangular-shaped drops from the first Perforated Triangles series are rolled horizontally,
rather than around a vertical axis.  Like all pieces in these series, cylinders can be displayed
on the wall or floor, individually or with other cylinders or combined with other sculpture in the series, including as bases for the Hook Shafts.  The first series includes a powder coated dark rust and machine gray set of three cylinders with the same cut-out organic shapes.  Another
three smaller triangular cylinders have no orgainc cut-outs (two pictured below).

                

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   Perforated Pentagons                                         

               
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  Camouflage + Spray Triangles

                           
                                Camouflage + Spray Perforated Triangles   

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  Perforated Triangles          
The Perforated Triangles are an interactive component art system consisting of a series of thirteen colorful triangles made from recyled 1/4" perforated aluminum which retain a portion of the shapes and lines of the original fabrication of metal stair balluster panels.  Each is unique and idividually made, not an multiple edition.  Organic shapes of painted-over graffiti forms are cut out of each triangle and bolted to it.  The triangles are softly rolled to accentuate the planar attributes.  The triangles can be displayed on the wall or bolted together for floor display.  They can be bolted with other components from the later sub series.

The colors are as whimiscal as the forms, and are meant to comment on many societal idiosyncracies. Each triangle is approximately 49" high.     

        
     French's Mustard Yellow.  OSHA Orange. NFL Pink.  Glitter Black

                                 
                                     CopperSun. Sparkle Silver.  7 ELEVEN. Coral Pink

    ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^           Origins of The Perforated Triangles


The Perforated Triangles are recycled perforated aluminum designed as a flexible component system of
powder coated aluminum pieces bolted together with stainless steel fasteners.  They are a synthesis of the
works of four great masters of Modern Art - Donald Judd and John Chamberlain, with a dash of Ellsworth Kelly and Frank Stella.

Light rays bounce off the repetitious perforations producing a unique, solid pixilation, while over-lapping
perforations create fascinating moire patterns.  Cutout Rorschachian irregular forms, one positive, one
negative, commandingly contrast the anonymous perforations.  The quirky straight lines, carrying the DNA
from the original fabrication, encourage contemplation of their own perceptual ambiguity.

The design allows for maximum flexiblitly - individual sculptures may be hung horizontally, vertically, or
canted (shown above).  Sculptures may be displayed individually, or combined in a variety of ways to
create both wall and floor installations, as well as outside combinations.  They can be combined as dual
"combos", multi-sculpture "fences", or "stacked" (a Juddian term) horizontally.  Plans are underway to
create the world's largest sculpture of Perforated Triangles for the Hudson Yards development in NYC.

The colors comment on several contemporary societal phenomena -  NFL Pink, OSHA Orange, French's Mustard Yellow, Sparkle Silver, 7 ELEVEN, Glitter Black, Rugy Red, Frigidaire Wet White, Purple Martin.

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Organica XLT
Proposal for The Tallest Green Sculpture at Hudson Yards, NYC


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CHUMANI GALLERY
2839 NM #14, Madrid, NM Open Daily 9 to 5 | 505-424-3813

   CHARIOTS - The Wind Machine Fleet

                            
       
Wind Blocker  76" H              Wind Catcher 72" H                     Wind Evader  82" H
         oxidized steel                                 oxidized steel                              oxidized steel

     

       Chariots and Other Chassis
        in Modern Art

                     The Chariot, Alberto Giacometti,      Voltri VII, National Gallery, Wash., DC (top)     Lipstick on Caterpillar, Claes Oldenberg,
    1950, Museum of Modern Art, NY.   Voltri VI, Nasher Sculpture Ctr, Dallas, 1962    1969-74, Yale University, New Haven, CT.
                                                          David Smith.
                                                          

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     The Avianic Structural Steel Series 

      

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Jeff Laird has been photographing the irregular forms and bleeding colors of painted-over graffiti for over a quarter century throughout the US, including Chicago, Phoenix, Austin, Albuquerque, Santa Fe and points in between.  He has created what is reported to be the world's largest collection of images of painted-over graffiti while unearthing the subliminal forces at work. 

In the process, he has discovered the true meaning of irregular forms in the history of art, from the creation of ancient sculpture to contemporary abstract art.  These subconsciously created irregular forms occupy the same cognitive edge of abstraction as much of the Impressionist's work, best exemplified by Monet's hazy trees in his River Seine series.

Laird's images possess a direct lineage to the Bauhaus aesthetic and the Institute of Design, Chicago tradition of photographic perceptual ambiguity.  They are reminiscent of the fantastical irregular forms of Jean Dubuffet, the tight cropping and bold iconic forms of Ellsworth Kelly, and the fields of bleeding colors of Mark Rothko and Helen Frankenthaler. 

He has created steel sculptures of the irregular forms as trophies that pay tribute to the conscientious citizens who, every day, paint over graffiti for the good of mankind.  The sculptures express the strength of pure form, flatness and edge, recalling the reductive work of both Giacometti and Donald Judd. The Outline sculptures are the cut outs from the irregular forms, vertically halved, then slid to the center.  The Derivative sculptures, frequently anthropomorphic, consist of the reassembling of the scrap produced by the cut-outs.

His minimalist paintings record the physical attributes of painting over graffiti and the minimalization of fields of over-painting.  The paintings express layers of surface, as well as the pure flatness of the picture plane.  Like the painted-over graffiti, these paintings are produced with common household colors, which record the societal whims of the times.