Magazine article Sculpture

Boston

Magazine article Sculpture

Boston

Article excerpt

Jordan Eagles

Mills Gallery

Jordan Eagles has discovered that blood, dried in quantity, turns into rock-like forms and then crumbles into flakes and dust. Distributing this medium with an unerring eye on a large backing, he then seals it into place with UV resin. The results are varied and intellectually engaging. Perhaps a little frisson is added when one knows the medium. Yet it isn't the first time that a bodily fluid-in this case, slaughterhouse blood- has cropped up in an artwork.

With no hint of gore, Eagles's material of choice has an eerie beauty. In BDLF2, dark lithic clots are spattered on red. BDLF3 presents shiny-sided stones. Confetti-like flakes are scattered on a white ground in Blood Dust 3-4. Several diptychs present such arrangements atop a rectangle of purest, darkest crimson.

Perhaps the most intriguing works are the "Roze" series, all three pieces different and equally eye-engaging. In each case, sheets of surgical gauze are soaked in blood and then stretched on a four-by-five-foot backing. Roze 17 may be the most successful, with its loose gauze irregularly laid on a white backing. The delicate web creates oddly shaped, random little spaces, usually vacant but occasionally clotting in thin tan areas or thick black ones. These serendipitous patterns could bear extended scrutiny. Roze 14, made of coarser material backed by a sheet of copper, glows with that metallic hue. Roze 18 is the reddest and most substantial of the three; from a distance (could this be deliberate?), a lighter central area takes on a heart shape.

The gallery made the unfortunate decision not only to reveal what forces and notions the work is supposed to evoke, but also to explain how the three components of Configuration are the size and shape of sarcophagi. …

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