I finally finished my Josef Albers wall hanging for the Davis Collection, a private art collection of famous pieces recreated by their friends.
I suppose I should have done a better job of ironing it. If I were a professional blogger, I would have done so, but it was just going to get shoved in an envelope and squished by the post office.
Anyway, in case you forgot...the original piece looks like this:
Anyway, in case you forgot...the original piece looks like this:
Pretty close, right? That blue square in the middle should have been darker, but I guess what I made still works.
I used these little plastic potholder loops to assist with the installation of my piece (that's what we in the artsty fartsy world say when we want to hang it on a wall). I also kept the binding the same color as that outer layer to not disrupt the narrative of my piece.
I also had to give a blurb about my piece. My husband is the wordsmith of the household, so I enlisted his help. I wanted him to write something fancy pants, like what you see in art galleries. This is what he came up with:
A dazzling debut in the realm of art reproduction, Rachel's "'Blue Squares'" displays the artist's gift at recontextualizing narrative. At once modernist and anti-modernist, "'Blue Squares'" teases the borders of the reproduction paradigm while hinting at depths beneath its impermeable surfaces. Rachel shatters the gestalt of the work before reassembling it with neo-futurist overtones, a signature motif. She severs the connecting tissue to her antecedents while simultaneously honoring them, probing both memory and the collective unconscious. The layering of the seemingly disparate elements, suggesting epater le bourgeoisie while eschewing the easy embrace, offers the thrill of the transgressive but only as whispered vulgarity. Reflecting upon her opus, Rachel mused, "It's just squares, mostly," a winking, seriocomic homage both tautological and not illogical.
