Paul Sacaridiz, presented by VADSCO
A+A 109, 7:30pm
Paul Sacaridiz is a very interesting individual with a passion for art and form. Influenced by the Colombian Exposition in Chicago and “Windmills of the World,” his evolution of sculptural style ranged from the ornamental to streamlined. He feels his art is a combination of the weird and obscure and the weird historical moments become underpinnings for his work and have served as an aesthetic strategy. His process was initially centered around large objects in abandoned fields, which became urban art forms that invited visitors to appreciate them in their sculptural form. His work is greatly influenced by the Plan of Chicago and oddly enough, Martha Stewart Magazine.
His earlier work is centered on ornamentation and one of the unique projects was “Minor Ornament.” This art project created small-scale ornaments on regular houses and buildings and challenged the notion of traditional ornamentation (such as the plastic ornaments of Louis Sullivan’s idealism of the a city surrounded by ornaments helping to create a more democratic society.) Paul’s work resulted from putting two moments together in different ways.
The landscape of the form was very important to him and he began shooting small objects in a way that was monumental, in contrast to the Colombian Exposition causing large objects to look smaller. He began playing with scale and found inspiration in bakeware with forms like Jello molds. As his work progressed, he began moving towards looking at issues of sprawl and interconnected, closed systems of surrounding objects and wooden platforms (inspired by Utopian communities.)Exhibitions such as “Overthrown” showed ceramics being utilized in new ways. He thought much about sculptural logic, presence, form, and the way things are made. I feel he is successful in making objects pragmatic with elusive logic. There is a quality of beauty inherent in his designs that even as he moved towards digital fabrication, was still reflected in the fabricated pieces. They have a spirit that speaks for themselves.
The landscape of the form was very important to him and he began shooting small objects in a way that was monumental, in contrast to the Colombian Exposition causing large objects to look smaller. He began playing with scale and found inspiration in bakeware with forms like Jello molds. As his work progressed, he began moving towards looking at issues of sprawl and interconnected, closed systems of surrounding objects and wooden platforms (inspired by Utopian communities.)Exhibitions such as “Overthrown” showed ceramics being utilized in new ways. He thought much about sculptural logic, presence, form, and the way things are made. I feel he is successful in making objects pragmatic with elusive logic. There is a quality of beauty inherent in his designs that even as he moved towards digital fabrication, was still reflected in the fabricated pieces. They have a spirit that speaks for themselves.
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