Everyone remember the wind-blown dandelions. As children, we loved to blow them away, watching them go far away like a dream, like a fairy-tale.
Artist and sculptor Robin Wight remembered this wonderful image and soft feeling, and created a serie of huge sculptures, made of wire, describing a fairy carries an enormous wind-blown dandelion.
Each of the sculpture is located against nature scenery – gardens, trees, a lake, a forest, giving us the feeling that we are being carried away, one more time, to our dreams and fantasies.
Some additional background on WIRE SCULPTURING:
Alexander Calder (1898–1976), an American sculptor, greatly developed the use of wire as a medium for sculpture with his kinetic and movement based Cirque Calder, as well as pieces such as Two Acrobats, Romulus and Remus, and Hercules and Lion.
In 1926, after a stint spent making toys at the request of a Serbian toy merchant in Paris, Calder began creating his Cirque Calder, a miniature, movable circus that uses movable wire models of various circus performers, like sword eaters and lion tamers. After this, Calder created complete pieces only using wire and in 1927 had a show of wire sculptures at the Weyhe Gallery in New York City. In 1930, he had a solo show of wire sculptures in Paris at Galerie Billiet.
Calder’s wire sculptures of this period tended to be portraits, caricatures, and stylized representations of people and animals. While originally believing the medium of wire sculpture to be merely clever and amusing, as his work developed, he began to state that wire sculpture had an important place in the history of art and remarked on the great possibilities that lie within the medium.
“These new studies in wire, however, did not remain the simple modest little things I had done in New York. They are still simple, more simple than before; and therein lie the great possibilities which I have only recently come to feel for the wire medium… There is one thing, in particular, which connects them with history. One of the canons of the futuristic painters, as propounded by Modigliani, was that objects behind other objects should not be lost to view, but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner.”