Since the 60's, Robert Grosvenor (b. 1937) has created a diverse oeuvre of sculpture and works on paper. His works captivate through a strong material presence, developing questions around multiple contradictions like balance and imbalance, mass and line, movement and stagnation. Although in their appearance close to minimalist aesthetics, Grosvenor's sculptures and objects never adopted Minimalism's programmatic claims but rather evolved a certain sensual directness. In a playful and mischievously way he explores the limits of materials and forms, combining and confronting seemingly dissimilar elements within a given space.
“Robert Grosvenor's work are strange not only, and perhaps not even primarily, because of the forms and materials that they use. They are strange because of the structure of inversion that informs them. This structure closes the works in upon themselves, and bends all references (strange or not) back on the sculpture itself. […] One stands in front of the sculpture […] one walks around it, enters its space, sees everything, recognizes everything, and is still not in a position to make it match up with what these things usually are. […] There is nothing but to accept the sculpture and its individual elements as that what they are under the conditions of this sculpture. It protects the sculpture and its elements against all kinds of consumption.”
Ulrich Loock, Perfect Ambiguity, in Robert Grosvenor, Museu Serralves, 2005
Image: Untitled, 2014, wood, fiberglass, aluminium, acrylic. Motor - 2000, aluminium, steel, overall: 61 x 495.3 x 152.4 cm.; 24 x 195 x 60 in.
Institute of Contemporary Art, Miami (solo show)
14 May – 21 November 2021
Using commonplace materials, monumental scale, and ...