Anya Gallaccio, ‘Untitled’, 2018, Drawing, Collage or other Work on Paper, Mineral pigment and dirt on paper, Blum & Poe
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Anya Gallaccio

Untitled, 2018

Mineral pigment and dirt on paper
22 1/2 × 21 in
57.2 × 53.3 cm
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Location
Los Angeles, New York, Tokyo
Medium
Anya Gallaccio
British, b. 1963
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Painting walls with chocolate, decorating doors with a carpet of flowers, or constructing a salt tower to be eaten away by the tide, Anya Gallaccio’s installations and sculptures melt, decay, or disintegrate until they exist only as memory. Even her more preserved objects, like a gold lamé hand-knotted fishing net and bronze apple trees affixed with real, rotting apples, recall Victorian memento mori. While Gallaccio’s use of organic materials and natural processes situate her among Young British Artists like Damien Hirst and Marc Quinn, Gallaccio does not attempt to completely arrest the cycles of decay, acknowledging the momentary rather than the monumental nature of sculpture.

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Anya Gallaccio, ‘Untitled’, 2018, Drawing, Collage or other Work on Paper, Mineral pigment and dirt on paper, Blum & Poe
Navigate right
Save
Save
View
View in room
Share
Share
Medium
Anya Gallaccio
British, b. 1963
Follow

Painting walls with chocolate, decorating doors with a carpet of flowers, or constructing a salt tower to be eaten away by the tide, Anya Gallaccio’s installations and sculptures melt, decay, or disintegrate until they exist only as memory. Even her more preserved objects, like a gold lamé hand-knotted fishing net and bronze apple trees affixed with real, rotting apples, recall Victorian memento mori. While Gallaccio’s use of organic materials and natural processes situate her among Young British Artists like Damien Hirst and Marc Quinn, Gallaccio does not attempt to completely arrest the cycles of decay, acknowledging the momentary rather than the monumental nature of sculpture.

Anya Gallaccio

Untitled, 2018

Mineral pigment and dirt on paper
22 1/2 × 21 in
57.2 × 53.3 cm
Sold
Location
Los Angeles, New York, Tokyo
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