Mylar is a material of choice for Sarah Vanderlip
, particularly in her “drawings”—recreations of architectural drawings done by her father. Most prominently popularized in art by Andy Warhol when he debuted his Silver Clouds
installation at Leo Castelli Gallery in 1966, Mylar is first and foremost a polyester insulator that is commonly used in x-ray film and to trap heat in emergency blankets. Although she calls them drawings, the use of Mylar transforms Vanderlip’s works into hybrid, amusingly reflective entities that exist somewhere between drawing, sculpture, architecture, and collage.
For her “Elegy
” series, Deborah Samuel
used unconventional materials like animal bones, and swapped out a camera for a flatbed scanner. She collected over 100 skeleton specimens—from cobras, owls, armadillos, dolphins, turtles, and frogs—then captured their images by placing the bones directly on top of the scanner’s glass and covering them with a black cloth. The resulting image, not exactly a photograph, has qualities to make it resemble an x-ray or a photogram.
For Drew Dominick
, nontraditional materials are conceptual necessities to his works—witty appropriations of art historical icons like Albrecht Durer
watercolor, and Frederic Remington
’s sculptures of the American West
. In The Bronco Buster (After Frederic Remington)
, he replaces Remington’s bronze with silicone rubber, and renders a cowboy toppled off of his horse. Combining materials including sheetrock, tobacco, leather, and animal pelts he cleverly and effectively creates engaging sculptures that challenge artistic traditions.