Leonardo Anker Vandal
Amidst the quaint charm of Brescia, Italy, Leonardo Anker Vandal unfolds a world veiled in the whispers of yesteryears and
Los Angeles artist Liz Larner explores and extends the conditions and possibilities of sculpture since 1980’s. Her works are informed by the relationship between object, viewer and their surroundings as well as a deep interest in manifold materials and their particular qualities.
‘In a general sense, the work is about being in the world. Different pieces engage different aspects of this, doing it at the same time as being in it. You know, I want the literal, the metaphorical and the theatrical. I want others who are in the room with the work to feel that. To know that they’re thinking about it, but also to have it just be happening to them.
The physical is important to me. It has been perceived as the lesser of the experiences. In many belief systems, the physical is considered the basest way of experiencing.
To me it’s interesting, because it affects us so directly, literally structures our space. I move through ideas concerning this with each sculpture with the kinds of materials, forms and colors I use and how they’re manipulated.
When I first began working, things were more conceptual: material was more about language, what something is and what something’s called. I eventually wanted more than that. I wanted to have the sculpture be there as something perceived and thought. Objects, with all the problems and pleasures they bring with it,’ — Liz Larner.
Amidst the quaint charm of Brescia, Italy, Leonardo Anker Vandal unfolds a world veiled in the whispers of yesteryears and
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