Through this exhibition Pier Stockholm takes us into a discussion surrounding the discourse between the column, the pedestal and the plinth. An exploration into understanding of their separate functions, and whether they collectively exist in the same moment. This is presented as in an installation composed of a large format wall drawing, drawing on paper and sculptures.
The sculptures also highlight the contrast between fragility and durability. Largely through their materiality, in a playful irony often the more fragile material protects the more durable, for example the foam protecting the concrete. Engaging in nuances of the geometric they lead you deep into their own story, small details giving small clues to feelings of the piece. They become safe spaces, a search for security.
The sculpture’s are presented with their transport boxes. They are not just boxes but they are ‘theirs.’ To Stockholm these cases are the homes of the works. These homes are a part of the artistic process as they allow Stockholm to also understand the negative volume of the sculpture. These shelters are made with a freer sense of expression, when making these refuges Stockholm discusses the feeling of nostalgia to being a child, the romantic memories of constructing tree houses in the woods.
Stockholm relates the interest in the transportation of the sculpture to a more autobiographical sentiment. Stockholm is Peruvian but lived in Sao Paulo to now lives in Paris, and is therefore – due to what is expected of artists – someone that identifies as being nomadic. This is also a wider comment on the nomadic state of contemporary artists, through increasing demands to do residencies, to show internationally, to even the constant change of studio space. With the increasing exodus of artists to the countryside there is a clear problem with the temporality of the studio and the artist in a city.
This representation of the city is also apparent through his choices of medium. The spray paint used to mark the streets near to Stockholm’s studio become the small gestures of colour on his sculptures. (Spray paint used in construction to create markers in the city). He has also created a 8 meter mural using a chalk line, another tool used in construction as a marker. The poetics of the piece is for the artist that the line that is both sharp and blurry.
The wall drawing has the strongest focus on ‘the column.’ Due to the proportions and scale its what most assimilates to one. It also relates its self to the second drawing in the exhibition and acts as a more vivid exploration of this piece of architecture.
The obelisk is an obvious challenge to pre-convinced ideas of the column, the pedestal and the plinth. What is presented to us is an understanding that all three are a support to an object, but the pyramid shape is both the support and the object. One can never say where one part begins and the other ends.
Pier Stockholm b. 1977 in Lima, Peru. Lives and works in Paris, France.