Dialogue V: Biota / Carbon Collision of the Diamond Mind: Suzanne Anker & Sabine Flach
Figure 58. Suzanne Anker, Biota, 2011. Porcelain, rapid prototype figurines with silver-leaf, plexiglass, 48 x 96 x 9 in (122 x 244 x 22.8 cm). Installation view of Cerebral Spirits: Stalking the Self at the Ben Shahn Center for the Visual Arts, William Paterson University Galleries, 2012. Photograph by Raul Valverde. ← 136 | 137 → ← 137 | 138 → ← 138 | 139 →
SUZANNE ANKER & SABINE FLACH
Sabine Flach: Biota is an expansive series of porcelain sculptures which you arrange in an installation format. How do you see your sculpture in relation to your other work?
Suzanne Anker: I am primarily a sculptor, a maker of objects. I think in three-dimensions. Perhaps it is the haptic nature of my work, which is replete with textural surfaces, allowing me to relate my sculpture to a corporeal self. Touching and molding material is an alchemical process, as materials go through a measure of becoming something other. Recently, my preoccupation with rapid prototype sculpture simultaneously grants me multiple views of my work from a frontal perspective. Such leverage adds to the ways that dimensionality of matter can be conceptualized. Matter as substance speaks to a consummate kinesthetic experience, in contrast to painting or photography. It is more tangible, more real, closer to the earth-bound elements of gravity and space and how they are displaced.
In two-dimensional work, illusion carries perceptual weight, while in sculpture, there is less presumed ambiguity. We know that sculpture is a thing...
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