ELIZABETH KLAYMAN

Sculpture 



Play with Light, 2020. Spotlights, and various colored plastic. Dimensions variable.
Untitled, 2018. Wax. Dimensions variable.
Untitled, 2019. Disco balls and spotlights. Dimensions variable.

As a student of sculpture, I engage with ideas of participation, use value, form, interiority and exteriority, light, and the displacement of space. As my practice developed, I moved away from traditional precedents of sculptural form to focus on ideas of fragmentation, complexity of structure, chaos, and chance. My work blurs the line between categories of “high” and “low” cultural forms to create my own version of expression. I do this through the juxtaposition of store-bought materials and handmade components, borrowing simultaneously from a range of art-historical movements such as Minimalism, Dada, and abstraction. I take inspiration from artists such as Duchamp and Turrell, who have shown that work does not need to be materially complicated or skillfully rendered in order to be considered art.

Risk-taking and vulnerability are both central to my process. I am engaged with ideas of chance—with the notion that my practice functions as a gamble—with “success” determined by a viewer’s activation of the space through direct and indirect participation. The risk I am willing to take entails the possibility of being “called out,” my work being declared “insufficient” or “not art.” What I stand to gain from this gamble is the possibility of offering a novel and unconstrained way of understanding space.

The primary motivation of my work is to consider the position of the viewer. My work asks for both encounter and confrontation, and it functions as a surrogate for my voice. My goal is to directly address the viewer, to complicate the viewer’s understanding and perception of their physical environment and of the space of art itself.