Quintin Rivera Toro, “Business As Usual”, and Flynn Grinnan, “Fabric Flesh”, at Yellow Peril Gallery in Providence (Boston Art Review, 10/21/12)

BUSINESS AS USUAL by Quintín Rivera Toro (Photo: Nate Risteen)

BUSINESS AS USUAL (Photo: Nate Risteen)

FABRIC FLESH (Photo: Nate Risteen)

FABRIC FLESH (Photo: Nate Risteen)

Traditionally, sculpture has an implied negative. Before 3-D printing, reproducing anything in any material required a mold of some kind, and even the historic craft of marble carving employed positive casts from negative molds.  

Molds are the dopplegangers of sculpture, the necessary but unseen shadow characters that follow the art form.  To acknowledge the mold is to acknowledge the process, and when process became a Modernist priority many sculptors found ways to expose their molds.  Auguste Rodin famously left the molds’ shim lines in his bronzes, and Constantin Brancusi made plaster casts from direct carvings rather than stone carvings from a plaster model, thereby reversing the traditional method of reductive sculpture.

Read the full review by Nate Risteen from Boston Art Review »