untitled sculpture (LARGE-SCALE PERFECT THICK & DEEPLY GROOVED CORTICALLY FOLDED BRAIN LEASHED BY LONG CURVED SPINE TO IMMENSE & VOLUPTUOUS SPHERICAL HUMAN FEMALE ASS)

2010 wood, fiberglass, wax, iron, steel wire, porcelain, synthetic velvet, polymer, resin, cotton muslin, foam

280cmX155cmX190cm

Taipei Fine Arts Museum, Taipei

“This latest piece is part of a new body of work by Claude Wampler that represents a shift in her art making practice, turning from the reliance on ephmerality of action to materiality. Having worked with almost every media available to an artist, Wampler now utilizes the more classic and rudimentary materials to construct a formal art object. This unique artist, well known for her use of art objects as a ruse to penetrate the less obvious realms of temporality, the abstraction of value and the consumer’s role in the production of worth, has made the bold move to pure sculptural representation to unburden the art of consumption. This is the third in a series of large-scale mixed media sculptures that are suggestive, seductive, violent, visually stunning and meticulously constructed.

For untitled sculpture (LARGE-SCALE PERFECT THICK&DEEPLY GROOVED CORTICALLY FOLDED BRAIN LEASHED BY LONG CURVED SPINE TO IMMENSE&VOLUPTUOUS SPHERICAL HUMAN FEMALE ASS) Wampler collaborated with a group of female Neurobiologists at MIT to accurately render the physical sculpture but to also, more importantly, decipher the delusion of gender and the mythological "Perfect Woman" as a genetically generated reality.”

Press Release, 2010


This project, the third and final iteration of a series, is a performance disguised as an art object. Before arriving in Taipei to install my work, I sent information to the museum giving them a detailed description of the piece that I would be showing. The single work was a large-scale sculpture. The sculpture, given its size, had to be shipped in several crates. The museum was instructed on how to unpack the artwork, assemble it and were given details about it’s fabrication, weight, dimensions, shape, etc… and were asked to document the process of installation. The one aspect of the sculpture that made this complicated for the museum was its invisibility. The sculpture was invisible. The sculpture was made visible during the exhibition by three separate methods:

1) A computer rendered and generated shadow cast by the sculpture accomplished by a hidden HD video projector to create a precise, accurate and realistic shadow of the large sculpture that, like a shadow, moved throughout the day as the light changed in the exhibition space.

2) Three categories of local “performers” hired to interact with the sculpture. During the entire duration of the exhibition, for all open hours, there was always one of each category in the space with the sculpture:
-Performers trained in mime technique who physically interacted with the work (examining it, trying to touch it, walking around it, etc…) making apparent to the other visitors the size and shape of the sculpture.
-Art students who made sketches of the sculpture, making it apparent to the other visitors the color, form and size of the sculpture.
-Actors who discussed and described the sculpture for other visitors to overhear and took digital photos of the sculpture for visitors to perhaps get a glimpse of (we loaded photo-shopped images of the sculpture installed in the space into the actor’s camera) making it apparent to the other visitors the beauty and magnificence of the sculpture.

3) Lastly, the museum employees during my exhibition were given specific instructions on how to answer every question imaginable while maintaining that the sculpture was indeed there.



All involved, whether hired “performers”, museum employees or the curator of the exhibition had to aggressively assert that there was in fact a sculpture there and they could see it there, clearly visible.

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