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Alyson Shotz

Double Torque, 2010

Yarn and pins on wall.
Alyson Shotz
American, b. 1964
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Having been displayed in such prominent arenas as the Guggenheim atrium and Storm King sculpture park, Alyson Shotz’s monumental sculptures use materials that range from mirrors, glass, and beads, to steel, wire, and digital photography, often repeating formal elements. A former student of physics, the artist explores themes of light, gravity, perceptions of space, and the patterns found in nature. For The Shape of Space (2004), Shotz created a vast patchwork wall of 18,000 Fresnel lenses, while in Mirror Fence (2003) a picket fence faced in polished aluminum reflects and blends into the surrounding grass. Speaking of the influence of the natural world on her work, Shotz has said, “There are things that I see happen when I’m working with a material that tell me something about gravity, space, force. I’m interested in showing that idea through the artwork.”

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Alyson Shotz
American, b. 1964
Follow

Having been displayed in such prominent arenas as the Guggenheim atrium and Storm King sculpture park, Alyson Shotz’s monumental sculptures use materials that range from mirrors, glass, and beads, to steel, wire, and digital photography, often repeating formal elements. A former student of physics, the artist explores themes of light, gravity, perceptions of space, and the patterns found in nature. For The Shape of Space (2004), Shotz created a vast patchwork wall of 18,000 Fresnel lenses, while in Mirror Fence (2003) a picket fence faced in polished aluminum reflects and blends into the surrounding grass. Speaking of the influence of the natural world on her work, Shotz has said, “There are things that I see happen when I’m working with a material that tell me something about gravity, space, force. I’m interested in showing that idea through the artwork.”

Alyson Shotz

Double Torque, 2010

Yarn and pins on wall.
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