Oliver Herring started a ten-year project after being inspired by the death of playwright Ethyl Eichelberger. The project involved improvised stop-motion videos of friends and later strangers, eventually leading to a process in which Herring would use volunteers to photograph and then construct real-life three-dimensional photo sculptures of them. This is how "Gloria" was created in 2004.
Herring uses material and composition to create a sense of meditation and vulnerability through the fragments of photographs used and the leaning of the sculpture against the glass box. Gloria's composition- the leaning of the scuplture- serves to evoke a feeling of contemplation and vulnerability because the sculpture is needing to be supported by the wall while in deep thought. Herring invites the viewer to pause and contemplate with Gloria. Because Gloria is in an unnatural pose, Herring is drawing the viewer in to look longer at the sculpture. The composition of the foot resting on the leg emphasizes how the sculpture is vulnerable, leaning and needing the support of the wall. This is also conveyed through Gloria's downcast face and eyes. Herring uses material to create a contrast between real and unreal in the sculpture through the use of photographs while also conveying vulnerability further. Herring uses a foam core and then attaches digital C-prints to create the sculpture. Because the photos are all fragmented, there is a broken effect accomplished that conveys a sense of fragility and vulnerability, as if the sculpture could be easily broken. The photographs used are two-dimensional, but are attached to a three-dimensional object. This creates a contrast between real and unreal, which is evident in the overall sculpture in that the exterior contour is comprised of photographs- "real", actual depictions of the model- while the inside of the sculpture is foam, or "fake". From far away the sculpture looks like a real human, but as the viewer comes closer, the lines and fragments of photos become evident. This effect is achieved by the use of photographs placed on the foam core in fragments. This further emphasizes real and unreal in Herring's sculpture. We can take away from Herring's use of composition that the placement of the figure, whether on the page or in space, is vital in communicating the mood conveyed to the viewer. This is also true of the pose and body language of the figure. We can also learn from Herring's use of material to create Gloria that the potential to communicate different moods to the viewer depends on which material the artist chooses. |
"Gloria" 2004
|