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low cost sanitary pad making machine cement block machine:Ambiguity Embodied: Charles Ray’s Interrogative Sculptures

low cost sanitary pad making machine cement block machine:Ambiguity Embodied: Charles Ray’s Interrogative Sculptures

  Ray has written that he no longer wanted to embody the works and that no one else could take his place, so they ceased to exist. The tension between sculpture and the artist’s body was conceptually compelling and physically taxing, for performer and viewer alike. Few artists have walked away from such powerful work.

  The first two pieces Ray made when he returned to sculpture were tables bearing objects, and they imply human presence. How a Table Works (1986, Pompidou) is a 46-inch-long schematic rendering of a table, top and corners missing. Eight segments of black-painted square tubing delineate tabletop and legs, connected by fourteen L-shaped rods. The “tabletop” supports a metal box, a thermos, a plastic cup, a terra-cotta pot holding a synthetic plant, and a solvent can. The objects’ aligned bottoms evoke the table’s absent top. Space flows through the work, yet is captive within the vessels on it.

  Monumental and sublime, Hinoki (2007, Pompidou) had never left the Chicago Art Institute until now. The nearly 2-1⁄4-ton piece is an excruciatingly faithful image of a 30-foot section of a fallen oak, hollowed out by rot and time. The actual cut-up trunk was molded inside and out by a team of assistants in Los Angeles, then cast in fiberglass to create a multipart pattern that was shipped to Japan. There, Mukoyoshi reproduced the tree in laminated cypress (hinoki in Japanese), enshrining this ruin for a millennium. The carvers’ exceptional skills translate “woodness”—the work’s subject and material—to visual and haptic perfection. Hinoki’s warmth stands out in Ray’s chilly oeuvre.

low cost sanitary pad making machine cement block machine:Ambiguity Embodied: Charles Ray’s Interrogative Sculptures