About Curtis LaFollette

Indeterminancy in Sculpture 2015

Five years ago, I began to fabricate a series of architectonic sculptural studies which were executed in wood; this was closely followed by an exploration of quasi-geometric industrial objects executed in metal. The fusion of ideas, derived from these two cycles of studies, with subject matter extracted from the degradation of the American industrial experience facilitated the genesis of the aesthetic content of my Industrial Wasteland series.  

These wastelands inhabit the space between the death of the industrial age and its plausible, but unlikely, resurrection. Elements and structures within these pieces (deconstructed environments) could reference the decaying refuse of a defunct industry, or the traces of the regenerative building blocks of its resurrection. As a result they exist outside permanent categories and clearly defined dialectic oppositions. Death and birth are thus coexistent within the same object, just as they are simultaneously absent from their objective definition.  

American industry, the stimulus for the generation of these objects, may be dead, hibernating, or simply absent. It remains indifferent to the aesthetic outcomes, which it dictates and enables. These sculptures offer no definitive solution to the conundrum they activate, nor do they comment on the moral/immoral context spawned by the demise of this phase of industrialization. They exist as extractions from physical reality, becoming secular reliquaries celebrating the inherent beauty of decay and devastation. In this perverse, even hostile atmosphere, it is thus that we generate a necropolis for the American industrial empire. Alternative opportunities for different aesthetic outcomes lurk within the dark boundaries of culturally remembered iconography.