Black’s sculptures come from modest means: paper, cellophane, cosmetics and other household, ready-to-hand substances (bath bombs, Gaviscon, soil, polystyrene, Sellotape, and Vaseline, for example) are her materials of choice, employed for their visual and tactile properties, as opposed to any overt referential significance. These materials are processed and worked through to the limits of their physical parameters, becoming unrecognizable and utterly unique forms, shapes and structures that hover mid-air from the ceiling, attach to walls or other features of the space, or cover the surface of the ground or walls in chalky, pastel colours. In this way, Black’s sculptures respond to the space they are in; the pre-existing visual and spatial features of the architecture becoming cues for Black’s treatment of it, which can be playful, overwhelming, exploratory and effusive.
Modern Art
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