Pier Stockholm b. 1977 in Lima, Peru. Lives and Works in Paris, France. He has had ex- tensively studied, 2006 - 2008 La Seine (ENSBA postgraduate program) Ecole Nationale Supérieure Des Beaux Arts. Paris 2006 - 2007 Cité Internationale des Arts. Paris, France 2002 - 2005 Master in Fine Arts. Universidade de São Paulo (ECAUSP) 1995 - 2001 Brazil Bachelor's Degree in Architecture and Urbanism. Universidad Ricardo Palma (URP). Lima 1998 Contemporary art studies with Prof. Julio Sanchez.
Through this exhibition Pier Stockholm taking us into a discussion surrounding the dis- course between the column, the pedestal and the plinth. An exploration into understanding of their separate functions, and whether they collectively exist in the same moment. This is presented as in an installation composed of a large format wall drawing, drawing on paper and sculptures.
The sculptures also highlight the contrast between fragility and durability. Largely through their materiality, in a playful irony often the more fragile material protects the more durable, for example the foam protecting the concrete. Engaging in nuances of the geometric they lead you deep into their own story, small details giving small clues to feelings of the piece. They become safe spaces, a search for security.
The sculpture’s are presented with their transport boxes. They are not just boxes but they are ‘theirs.’ To Stockholm these cases are the homes of the works. These homes are a part of the artistic process as they allow Stockholm to also understand the negative volu- me of the sculpture. These shelters are made with a freer sense of expression, when ma- king these refuges Stockholm discusses the feeling of nostalgia to being a child, the ro- mantic memories of constructing tree houses in the woods.
Stockholm relates the interest in the transportation of the sculpture to a more autobiogra- phical sentiment. Stockholm is Peruvian but lived in Sao Paulo to now lives in Paris, and is therefore - due to what is expected of artists - someone that identifies as being nomadic. This is also a wider comment on the nomadic state of contemporary artists, through incre- asing demands to do residencies, to show internationally, to even the constant change of studio space. With the increasing exodus of artists to the countryside there is a clear pro- blem with the temporality of the studio and the artist in a city.
This representation of the city is also apparent through his choices of medium. The spray paint used to mark the streets near to Stockholm’s studio become the small gestures of colour on his sculptures. (Spray paint used in construction to create markers in the city). He has also created a 6.5 meter mural using a chalk line, another tool used in construction
as a marker. The poetics of the piece is for the artist that the line that is both sharp and blurry.
The wall drawing has the strongest focus on ‘the column.’ Due to the proportions and scale its what most assimilates to one. It also relates its self to the second drawing in the exhibi- tion and acts as a more vivid exploration of this piece of architecture.
The obelisk is an obvious challenge to pre-convinced ideas of the column, the pedestal and the plinth. What is presented to us is an understanding that all three are a support to an object, but the pyramid shape is both the support and the object. One can never say where one part begins and the other ends.