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Page 2 - Gyangy Laky / March |
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With Rib Structure in particular, a notion of time is suggested due to the piece looking like a remnant of a Native American archeological dig. At this point Laky is tapping into a bridge between ancient and contemporary cultures and of craft and art. |
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Birds at Airports, 1986, Acacia with wire and thread, 46 x 78 x 2 in |
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An especially important part of Laky�s emphasis (as the artist herself has stated) is utilizing discarded materials. By selecting and recreating her objects from superfluous organic materials the work makes a statement about the environment as well as the natural world. The counterpoint is that these objects are consciously the work of human |
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Limbs and Fingers, 2001, Eucalyptus prunings with dowels, 15 x15 in |
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hands; both in actuality and in their references to utilitarian objects. Though the materials primarily comprise organic matter also included are such man-made materials as sheetrock bullets, deck screws and wire. Put all together it�s a short leap to imagine these pieces being the result of some weird evolutionary event like that of screw-gun toting birds building industrial strength nests. |
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Finally, it is impossible to look at this work and not wonder about the processes involved to create them. Obviously they were produced with careful and obsessive labor so that method is as much |
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Rib Structure, 2001, London plane tree, electrical wire, approx 26 in high |
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about their content as anything else. This concept segues nicely with the finished pieces where, as you marvel at the complete forms, you are simultaneously struck by their excellent craftsmanship; the two are part and parcel of each other. Laky preserves a certain amount of coarseness in the textures created by the dimensions of the prunings and other materials. Most of these pieces possess a solid beefiness that belies their proportions. |
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Amphibios II, 2001, Mandarin prunings, sheetrock bullets, 9.5 x16 in |
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In short, what makes Gyongy Laky�s art magnificent are discarded, coarse and natural materials obsessively constructed and shaped into understated, subtle forms with their numerous accompanying metaphorical references. |
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Standing Vessel, 2001, plum prunings, drywall bullets, 16 x16 in |
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