Gracelee Lawrence

Reclining Nude

Reclining Nude (2016), foam, powder coated steel, epoxy, plastic, pump, concrete, 60 x 72 x 96 inches

Reclining Nude (2016), foam, powder coated steel, epoxy, plastic, pump, concrete, 60 x 72 x 96 inches

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Reclining Nude is a 1.5x scale remake of Charles Umlauf's 1958 bronze sculpture of the same name. Situated in the same courtyard as it's namesake, my pineapple version has been translated through a contemporary lens and recreated using fruit, rearranging and displacing gender specific sexualities by replacing otherwise sexualized bodies with representations of ripe fruits. Cultural references to specific fruits, a pear-shaped body or the exoticism and colonialism inferred with a pineapple, direct the transmutation from figurative sculpture to fruit fountain and speak to the history of the fruit as a capitalist commodity. The work mimics or mocks moments of bodily intimacy while dealing with desire, reproduction, power, and eroticism while reflecting problematic aspects of the sculptural tradition so deeply entrenched within the patriarchal system.

 

Complicates the Search

Complicates the Search (2017), 3D printed plastic, acrylic putty, epoxy resin, wood, paint, 28 x 43 x 7 inches

Complicates the Search (2017), 3D printed plastic, acrylic putty, epoxy resin, wood, paint, 28 x 43 x 7 inches

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Complicates the Search is a primarily 3D printed sculpture merging digital and physical objects into a finalized mass. This sculpture is formed from a series of translations, objects moving from physical reality to digital space and then back to physical space and visa versa. The 3D files that make up the sculptures are collected in three different ways: wholly digitally rendered, 3D scanned, or found on the Internet. For the scanned aspects, I take an object (either found or made) and then use a 3D scanner to translate its mass into the digital space where the sculpture is first constructed. I create the rendered aspects in the 3D modeling software, forming them from the basic geometries available with a linear precision contrary to the softened scanned objects. These methodologies allow this work to span the digital/physical gap in a similar way to which contemporary life teeters precariously between the virtual and physical.

Sighs Smell of Farewell (2015), 3D printed plastic, foam, wood, epoxy putty, gypsum, fabric, 40 x 40 x 7 inches

Sighs Smell of Farewell (2015), 3D printed plastic, foam, wood, epoxy putty, gypsum, fabric, 40 x 40 x 7 inches

Biography

Gracelee Lawrence recently finished a year as a Visiting Artist in the Multidisciplinary Department of Art at Chiang Mai University on a 2016-17 Luce Scholars Fellowship. She is a Co-Founder/Director of Pig & Pony Gallery, the Founder/Director of the Virtual Studio Visit Network, Co-Founder of Cocina Migrante, a contributing writer for the International Sculpture Center Blog and a member of the collective MATERIAL GIRLS. In 2017 she had two solo exhibitions in Thailand and one in Pittsburgh, Pennsylvania, at Bunker Projects. Gracelee completed her MFA in Sculpture + Extended Media at the University of Texas at Austin in 2016 and graduated from Guilford College as a Principled Problem Solving Scholar with an honors degree in Sculpture in 2011. The artist is the recipient of the 2015 UMLAUF Prize, 2013 Eyes Got It Prize, and the 2011-12 Ella Fountain Pratt Emerging Artist Grant. She is an artist, writer, cook, traveler, macramé enthusiast, a lifelong horsewoman, and Bagel Babe.