Susana Solano

Ajuste en el Vacio, 1995/1996

Susana Solano relates sculptural bodies in an empty space with one another, thus rendering this gesture visible and tangible as a conceptual act. Three cylindrical bodies of different lengths consisting of transparent grid structures with massive frames form a consistent entirety only by being positioned facing one another, conveying floating dynamics. Walking around this work the perspective shifts continuously. Thus the sculpture becomes recognisable as a form of movement that, whilst requiring material supports, might also have the potential to put these supports in vibration.

 

Susana Solano’s sculptures are closely linked to questions of space. Her work focuses not only on the relation between the sculpture and its environment, but also on the sculpture’s own spatial qualities.

 

In her three-part work “Ajuste en el vacio“, Solano correlates sculptural spheres in an empty space, thus giving form and visibility to this process as a conceptual activity. Solano created three cylindrical spheres of varying lengths that consist of transparent grid-like structures with massive borders.

 

A dynamisation of the spheres is brought about through the ellipsoid layout of the cylinders. Their foundations are embedded in the ground in such a way that the sculptures seem to rest lightly on the earth without any foundations whatsoever, or even hover aboveground, maintaining a precarious balance. Only in facing each other do the individual parts form a corresponding whole that puts across a floating dynamic.

 

The sculpture opens up space and at the same time makes space its central topic through its transparent structures and gaps. Emptiness – nothing – is thus experienced as an integral part of the work. Through the cylindrical spheres and their relations with one another, empty space is given a precise structure and, reciprocally, makes the metal components of the work seem less heavy and massive.

 

The viewers themselves also play an essential role in the interpretation of this work, as they will move through gaps between the individual parts, linking them with their gaze. Walking around the object, viewers will notice how their perspective permanently changes, constantly creating different constellations and overlaps between the individual elements.

 

The sculpture thus becomes recognisable as a form of motion, which, though it does need material carriers, also has the potential of making these carriers vibrate gently.

Author: Rainer Fuchs 
Plan & Overview: Position 32
Owner: [Museum of Modern Art, Stiftung Ludwig; Vienna]
Biography: Susana Solano

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