|
|
In 1994,
Nannette
constructed many abstract macquettes from thin strips of corrugated-cardboard
and thick paper.
wax-covered
cardboard
|
She was intrigued by
the cardboard's composition. As she cut the cardboard into thin strips, the cardboard's center
became exposed, and Nannette found meaning in the material;
one's continuing struggle
between time, work, play, and responsibilities.
To Nannette, the cardboard's center-wavy line,
nestled
between two flat planes, is the line of life, that represents
life's satisfying moments; on either side, pressing on the
center, are the two flat planes disrupting the equilibrium.
|
studio |
|
|
|
Some of the paper macquettes ultimately led
to a fabricated steel sculpture
(center), but Nannette knew she would one day
revisit the cardboard.
|
Storm Tossed,
1995, welded steel, 36"x36"x36" |
In 2005, the paper circles
(far left)
found their way into the colorful clay pieces in
the Candyland
series.
Candyland 1,
clay, 4"x6"x4"
|
|
|
|
Dad, 1999, bronze 12"x11"x10"
Spider,
1999, bronze
12"x11"x10"
Click here for more bronze images |
In 1999, Nannette took a
group of small cardboard sculptures, and directly cast them in bronze.
However, because the cardboard was thin, all surfaces and holes needed a
protective wax coating, to keep the integrity of the material, during
the casting process. The experiment was a success
(left),
as the cardboard's detail could still be seen in the bronze.
In
1997, Nannette made geometric shapes out of thin strips of cardboard. The possibilities seemed endless. By 2003, she
had incorporated
wire to reinforce the lightweight cardboard. This made the medium more sturdy and allowed
her to add spirals (right). Because of her background in metal, Nannette is
constantly seeking ways to make breakable materials less fragile. |
Exhibit at
Washington Square,
Dupont Circle, DC |
|
|
|
Cardboard: Carnival |
Back to Top |
|
|
|
|
The Carnival series
began in 1997, after Nannette's father died. The abstracted cardboard images
were brightly painted, had closed-geometric shapes, and to her surprise, were
whimsical and carnival-like. However, after working with the spirals in her next
series, Healing, she realized these earlier geometric components symbolized her
inability to deal with her father’s passing.
|
Carnival 4
30"x36"x24" |
Carnival 2
25"x25"x18" |
|
|
|
Cardboard:
The Healing Process
This sculpture series, in
brightly painted corrugated cardboard, illustrates the bonding between a
patient and caregiver as they deal with a debilitating illness and
later, the caregiver's struggle to cope after the loved one's passing.
The three sculptures below consist of a stem, center, and spirals.
The stems are long twisted pieces of cardboard bound tightly together to
show the closeness of the patient and caregiver. Each sculpture's center
represents a different stage of the "healing process." The spirals
portray the deceased and the living, through two color schemes ending
with yellow tips to symbolize freedom. The patient's color palette is
red to orange to yellow and the caretaker's palette moves from blue to
green to yellow. |
|
|
|
Step One
In The
Beginning
50"x18"x12" (center)
Healing most often starts when the patient dies. The first phase frees the soul, represented by one orange to yellow spiral
floating upward. However, the caretaker like the interior's circles and spirals,
is in an embryonic state of mourning trying to find a way out of the sadness.
The Healing Process
Nannette's mother died in 2002, after a long illness. In 2003, she was
invited to create new art for a 2004
exhibit at the Baltimore Hebrew Congration. This series
helped Nannette deal with her mother's passing, and also led to the next
phase - putting geometric shapes and spirals together in
Mom & Dad.
|
 |
Step Two
Slowly
Healing,
18"x48"x12"
(below)
This middle phase finds the caretaker
starting to put to rest the turmoil of the illness, symbolized by the
sculpture's partially open interior and limited cascading spirals. Because
there is no more pain for the patient, the caretaker can take solace in knowing
"all was done, that could be done."
 |
|
|
|
Step Three
In The End, 31"x48"x12"
(center)
In this third and final stage, though the patient and caretaker are
physically separated,
they are forever together. The caretaker, whose goal was to make the patient's
transition as dignified as possible, is now ready to "move on" to explore life,
symbolized by the sculpture's open interior and full cascading spirals.
The spirals continue in the
next series, Candyland.
Back to Top |
 |
Analysis
In the End, was the first piece
worked on in this series. The wire Nannette used to reinforce the
cardboard, sometimes dictated the aesthetic of the sculpture.
She first worked on the stem, and when the
spirals seemed to "burst" from this tightly-wound element, Nannette not only experienced
a change in her art but in her personal healing as well. As the piece developed, a comforting feeling came over her. She identified
with the openness of the sculptural space, and knew immediately how to develop the
series. |
|
|
|
Cardboard: Mom & Dad |
|
|
|
The
Mom & Dad series represents Nannette's
parents, Terri & Abe, their endless love story, and the merging of two previous
cardboard series, Carnival and Healing, to create a third.
The
Carnival series' closed-geometric shapes are used for the interior of the piece.
They personify Abe's stabilizing influence on the family; his quiet and strong
personality, and their 58 year marriage.
The
Healing series' open-spiraling tendrils form the exterior, and embody Terri's
outgoing and vivacious personality. Abe died five years before Terri and in
2002, when
Terri passed away, they were
Together Again. |
Mom & Dad Together Again,
2005, 19"x23"x19"
|
Analysis
In this third series, Nannette weaves
Terri's open spirals amidst Abe's closed-geometric shapes and incorporates herself into the piece
(below)
by tightly winding
yellow cardboard strips around linear elements, illustrating a
never-ending interaction with her parents.
For Nannette, knowing her parents
could still inspire
her, brought solace. She also gained an aesthetic satisfaction, an idea to
pursue in a new art series, and a better understanding of the healing process.
|
|
|
|
wheel spokes, purple dots
geometric and spiral components
Nannette: yellow strip wrapped at base |
|
|
|
 
back view
top
magenta dots
orange dots |
|
|
