Pipes, Poles & Ruffles

In the mid to late 70s, I spent a lot of time in the studio staring at the ceiling, perhaps hoping for inspiration. The sprinkler system in the loft, composed of a series of small fan- shaped objects attached to the pipes, reminded me of a ballet dancer’s tutu. In addition, my local subway stop’s newsstand sold lemonade and orange juice from a mysterious- looking machine. In each of the two separate Plexiglas sections, a small fanciful-looking object twirled and swirled, keeping the liquid cool and at the proper consistency. A miniature version of the skirt of Degas’ little dancer of fourteen years, jazzing it up on the Lexington Avenue line! I decided to dress steel pipes with ruffles and tutus and fans – feminizing and adorning them with beautiful colors and appealing, albeit vulgar materials, like flocking and anodized aluminum. In some of the pieces, the fan was reduced to a small, brightly colored triangular projection. By playing with both highly colored and reflective surfaces against the flocked ones, most specifically in the Harlequin Poles, the viewer could experience the sculptures as having numerous textures and surfaces simultaneously. In the Pole and Ruffle pieces, I was looking for a way to float color in space, making it appear more buoyant and alive. This series was also influenced by decorative Asian arts, the importance of the fan in Asian culture, and by the freedom and protection offered to the ruffle-necked bard at court where humor kept his head on his shoulders and off the chopping block