John Chamberlain : Bending Spaces. Cet article n’est pas disponible.John Chamberlain : Bending Spaces

The crumpled sculptures by American artist John Chamberlain, welded together from deformed car body parts, revolutionized the art world back in the 1950s. Through the unusual use of industrially prefabricated materials and their completely free repurposing, he released new processes of artistic forms and a consumer-oriented aesthetic. At first assigned to Nouveau Réalisme, his work at the same time evinces relationships with Abstract Realism and Minimal Art, but ultimately asserts a great measure of autonomy in its form of expression. As early as the mid-1950s, he turned to the industrial scrap from cars, which he squashed, pressed into shape and welded together. Just as important as the form is the interplay of colours which make his works dazzle and sometimes bring them into a certain proximity with colour-happy Pop Art. In addition to his internationally renowned sculptural work, Chamberlain occupied himself intensively with photography, a theme extensively addressed in this book. Sculpture and photography interact directly with each other. Unlike the sculptures, which are positioned in their materiality, Chamberlain’s photographs are marked by great blurring and fleetingness. At the same time, they absorb the element of movement in space. Chamberlain himself put it in terms of ‘bending space’. One may think of them, even more readily than of his sculptures, as the spontaneous gestural structures of Abstract Expressionist paintings.

The crumpled sculptures by American artist John Chamberlain, welded together from deformed car body parts, revolutionized the art world back in the 1950s. Through the unusual use of industrially prefabricated materials and their completely free repurposing, he released new processes of artistic forms and a consumer-oriented aesthetic. At first assigned to Nouveau Réalisme, his work at the same time evinces relationships with Abstract Realism and Minimal Art, but ultimately asserts a great measure of autonomy in its form of expression. As early as the mid-1950s, he turned to the industrial scrap from cars, which he squashed, pressed into shape and welded together. Just as important as the form is the interplay of colours which make his works dazzle and sometimes bring them into a certain proximity with colour-happy Pop Art. In addition to his internationally renowned sculptural work, Chamberlain occupied himself intensively with photography, a theme extensively addressed in this book. Sculpture and photography interact directly with each other. Unlike the sculptures, which are positioned in their materiality, Chamberlain’s photographs are marked by great blurring and fleetingness. At the same time, they absorb the element of movement in space. Chamberlain himself put it in terms of ‘bending space’. One may think of them, even more readily than of his sculptures, as the spontaneous gestural structures of Abstract Expressionist paintings.