Lee Deigaard

  • WORK BY MEDIUM
    • Photography
      • Unbidden
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        • Sagacious Creatures
        • Horse: Nocturnal
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        • installation views
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      • Crusher Run
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      • Photogenic Drawings: Petri
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      • Photogenic Drawings: Vortices III
    • Drawing/ Painting
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      • One Thing Leads to Another
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        • How to Invite a Horse to a Museum
        • Gus and Deuce Go Elsewhere (video)
        • Gus and Deuce Go Elsewhere [stills]
        • Field Trip
        • One Day
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  • WORK BY CONCEPT
    • Recent
    • Things Fall Apart
      • Things Fall Apart
      • Exploded Trees
      • A Tree Falls
    • Photogenic Drawings
      • Photogenic Drawings of Trees
      • Encephalograms
      • Photogenic Drawings: Petri
      • Photogenic Drawings: Untitled (fluoroscopy)
      • Photogenic Drawings: Vortices III
    • Animal Protagonist
      • Unbidden (i)
      • Unbidden (ii)
      • Sagacious Creatures
      • Topsy
      • Horse: Nocturnal
    • Horse
      • Equuleus
      • Horses at the Museum
        • Gus and Deuce Go Elsewhere (video)
        • Gus and Deuce Go Elsewhere [stills]
        • How to Invite a Horse to a Museum
        • Field Trip
        • One Day
      • One Thing Leads to Another
      • Horse: Diurnal
      • Horse: Nocturnal
      • Dirty/Pure
    • Topography
      • Crusher Run
      • Ink Drawings of Trees
      • Vortices
    • Moving Parts
      • Plastic Gulf
      • Steady Star
    • Body/Corporal
      • Equuleus
      • Forms
      • Hybrid Woman
      • Dirty Lick
      • Dirty/Pure
      • Horse and Rider
      • Body
      • Heads
      • Heads
      • Heads, in the hand
    • Forensic
      • Exploded Trees
      • Embedded Lenses
    • Textual
      • Dirty/Pure
    • Immersive
      • Pulse
      • Steady Star
      • Submerge
      • Flow
  • CURATE/COLLAB
    • Latin for Crab
    • PhotoBOMB
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    • You Beautiful Bitch
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    • Sfumato
    • at The Front
  • INFO
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    • a tree falls
    • Writing: Statmob
  • NEWS

STATMOB:

 

In making sculpture, movements of the artist’s eye and hand connect to feeling.

 The artist’s eye travels lines of sight, perceptually slicing space so as to discover the relationships of parts: the axial tilts and swivels, the contrapositioning of the ribcage to the pelvis…

 

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The statue must coax its viewer to move around it; it relies on a roving eye and a moving body to explain its occupation of space.

 

Click to Diagram

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The statue– neither mannequin nor marionette– is a codified gesture of emotion.

 

Click to Marionette

 

The statue– through its alignment of limbs and balance of parts– must suggest that motion is merely suspended, paused… poised, rather than frozen, its gesture existing at the margin of a Before and an After.

 

Click to Caryatid

 

Of course, we must distinguish between accomplishing motion and merely alluding to its possibility. (Sometimes a statue must bear the ceiling on her head).

 

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There are those statues who speak as fragments, their limbs lost to the blows of history, vulnerable- after all- to movement and being moved. The gesture is curtailed though its core survives, deepened perhaps by the ellipsis, in as much as we love the mystery.

 

What might Venus de Milo have said with the span of her arms which have been missing all these years?

 

Click to Venus

 

Click to fadeout

 

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