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My large-scale duct tape sculpture, Five Napkins, main purpose is to create new perceptions on every day objects. The piece appears as something simple to viewers from afar, yet so complex when examined close up. This relationship stemmed my interest into many everyday objects and products of our culture. The piece may appear jovial, but it also casts a sense of irony, due to its enormous scale.
The hamburger is without a doubt one of the most potent symbols of American society and culture. The intricacy of the layers between the two hamburger buns has its own architectural mystique and complexity. By the 1950s, hamburgers would rapidly expand in American culture at the onset of suburban growth. As cars and highways were being quickly produced, consumers saw fast food as a new alternative. It was food that you could eat in the car easily, food that you could hold in one hand, even while driving down the highway. Five Napkins attempts to expose this, while also creating a paradox. People often blindly view everyday objects that make up their daily experiences, yet they’re so large, present, and omnipotent.
I have been deeply inspired by the works of sculptor Claes Oldenburg who one said of art:
“I am for art that takes its form from the lines of life itself, that twists and extends…and is heavy and coarse and blunt and sweet and stupid as life itself.”
Five Napkins is apiece attempting to show the transformation of an everyday object due to both its immense scale and form. In creating this piece of art, like Oldenburg, I attempt to put life in the inanimate. My use of bright colors of duct tape stimulate the eye into a sensory experience, similarly to the way you would be greeted with a hamburger and French fries at a fast food restaurant. Like the pop art of the 1960s my piece hinders on pop culture through the use of vibrancy, detail, and fine technique.
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| Author |
| Connor Uretsky , 17 yrs |
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| School |
| Winchester Thurston School |
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