Signe Solberg: Ghost Beats
There are no ghosts and no beats. There's metal. Ghost Beats is a commissioned work for the Vigeland Museum's room VII, and the work is meant to interact with the room's volume, colour and light. From Signe Solberg's hands this is a characteristic work of art; abstract, defined and contradictory.
Ghost Beats consists of two main elements. One is a framework made of black steel. Open geometric shapes are placed against each other to form a skeleton. The other element is a drapery consisting of small, identical-shaped triangles of polished steel. They are welded together at different angles and form a visual staccato rhythm. This drapery creates reflections of the sculpture's surroundings.
For Solberg it is important that the sculpture's individual parts are never larger nor heavier than what she can carry. Thus, her physical capacity becomes an essential part of the sculpture's design. The sizes of the separate parts of Ghost Beats relate actively to the artist's body, but overall the work is monumental. It balances between the clear and the ambigious, the soft and the hard, the balanced and the asymmetrical.
The choice of form and materials shows that Solberg relates to a modernist tradition in art. Simple geometric shapes that create repetitive patterns, and the use of industrial materials, are both elements related to minimalism. The sculpture's direct placement on the floor is also a significant break with classic sculpture ideals.
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There are no ghosts and no beats. There's metal. Ghost Beats is a commissioned work for the Vigeland Museum's room VII, and the work is meant to interact with the room's volume, colour and light. From Signe Solberg's hands this is a characteristic work of art; abstract, defined and contradictory.
Ghost Beats consists of two main elements. One is a framework made of black steel. Open geometric shapes are placed against each other to form a skeleton. The other element is a drapery consisting of small, identical-shaped triangles of polished steel. They are welded together at different angles and form a visual staccato rhythm. This drapery creates reflections of the sculpture's surroundings.
For Solberg it is important that the sculpture's individual parts are never larger nor heavier than what she can carry. Thus, her physical capacity becomes an essential part of the sculpture's design. The sizes of the separate parts of Ghost Beats relate actively to the artist's body, but overall the work is monumental. It balances between the clear and the ambigious, the soft and the hard, the balanced and the asymmetrical.
The choice of form and materials shows that Solberg relates to a modernist tradition in art. Simple geometric shapes that create repetitive patterns, and the use of industrial materials, are both elements related to minimalism. The sculpture's direct placement on the floor is also a significant break with classic sculpture ideals.
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