Cornelia Parker, ‘Rorschach (Endless Column IV)’, 2012, Galeria Carles Taché

Like Rorschach’s inkblots, Parker’s sculptures are open to countless subjective interpretations. Endless Column suggests in its title an homage to the Romanian sculptor Constantin Brancusi, whose concentration on pure, abstract, repetitive form was a significant influence on later artists, especially the Minimalists. Brancusi’s seminal work, Endless Column (1918), created as a memorial to Romanian soldiers killed in World War I, consists of a series of carved wooden forms that sit on the floor while rising into the air. Parker creates a similarly elegant line of balanced, symmetrical forms, yet, rather than rising from the earth to the sky, Parker’s work hangs from the ceiling, floating just inches from the floor. “Suspension has been a central theme in my work,” the artist explains, “sometimes literally and other times metaphorically. It describes limbo and our battle with gravity and its grip on all of us. All our life we have a precarious relationship with the earth’s surface; gravity exerts its attraction increasingly until the moment we die.”

Text by Andrea Karnes

Rorschach (Endless Column I) is at the Modern Art Museum of Fort Worth
Rorschach (Endless Column III) is at British Embassy in Paris

Signature: Cornelia Parker

Exposició Inaugural 2015 Galeria Carles Taché

Galeria Carles Taché

About Cornelia Parker

Cornelia Parker, OBE, has been twining together themes of history, violence, and transcendence since the 1980s, working in mediums that range from sculpture, installation, and works on paper, to photographs composed out of manipulated found objects and images. She has flattened silver tea sets and other objects with a steamroller and hung them from the ceiling; and cast sidewalk cracks in bronze to create evocative, minimalist sculptures. Among her best-known works is Cold Dark Matter: An Exploded View (1991), for which she had the British army blow up a garden shed, whose fragmented pieces she displayed suspended and dramatically lit from within. Her work is “constantly unstable, in flux; leant against a wall, hovering, or so fragile it might collapse,” as Parker describes it. “It is a universal condition, that of vulnerability. We don’t have solid, fixed lives; we’re consistently dealing with what life throws at us.”

British, b. 1956, Cheshire, United Kingdom, based in London, United Kingdom