The Directors of Marlborough Gallery are pleased to announce The Turbulence Series, an exhibition of new work by the artist Alice Aycock. The show will open on Wednesday, October 18th with a reception at the gallery from 6 – 8 pm. The exhibition will include five large-scale aluminum sculptures and a number of smaller works, as well as a selection of works on paper and will continue through November 18th. This will be the artist’s first solo exhibition with Marlborough Gallery.
Aycock’s complex and singularly inventive body of work has its roots in Russian Constructivism and references architecture, minimalism, conceptual and kinetic art.
The newest sculptures, entitled The Turbulence Series — pristine and powerful aluminum whirls which range in height from 9 to 19-feet tall — are simultaneous incarnations of wind and waves; they suggest the velocity of fluid dynamics, as well as the euphoria of levitation and dance in equal measure. Indeed, the essential depiction of movement within sculptures by Aycock creates a sensation of kinesthesia in the viewer. Within the ribbons of motion one might perceive a turbine or an ice-skater captured in mid-spin.
In addition to her playful engagement with fields of scientific inquiry, the artist garners inspirations from the theatrical aspects of historical and contemporary architecture, as well as industrial architecture in relation to the anti-gravitational appeal of amusement parks. For Aycock, life on earth is a mesmerizing maelstrom. Although her sculptures and drawings have been influenced by the work and writings of Marcel Duchamp and Leonardo da Vinci, Aycock says, “I am an unabashed lover of toys — paper airplanes, spinning tops, gyroscopes.” The artist considers these new “Twister” works, conceived and developed over the past ten years, to be a distillation of her previous decades of artistic output.
Alice Aycock has resided in New York City since 1968. She is best known for her land art pieces, architectural sculptures, and large public works. Aycock received a B.A. from Douglass College and an M.A. from Hunter College.
Aycock’s projects include numerous large-scale installations and public sculptures such as: The Miraculating Machine in the Garden at Douglass College (1982); The Solar Wind at Roanoke College (1983/2010); Functional and Fantasy Stair and Cyclone Fragment at the San Francisco Public Library (1996); Star Sifter (1998) for Terminal One at JFK International Airport; Maze 2000 for University of South Florida; Ghost Ballet for the East Bank Machineworks, Nashville, Tennessee (2008); A Startling Whirlwind of Opportunity, University of Tennessee, Knoxville (2009); The Game of Flyers Part Two, Washington Dulles International Airport (2012); The Butterfly Effect at Michigan State University (2012); Super Twister for University of Cincinnati (2013); East River Roundabout (1995/2014), for the East River Park Pavilion at 60th Street in New York City; and Park Avenue Paper Chase (2014) for the Park Avenue Malls in New York City. A permanent reconstruction of A Simple Network of Underground Wells and Tunnels from 1975 was sited in 2012 at Omi International Arts Center, in Ghent, NY.
Works by Alice Aycock can be found in numerous collections including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Brooklyn Museum, Brooklyn, New York; National Gallery of Art, Washington, D.C.; Storm King Art Center, New Windsor, New York; Fondation Louis Vuitton, Paris, France; and Sprengel Museum in Hanover, Germany. She has exhibited at the Venice Biennale, Documenta VI and VIII and the Whitney Biennial. Aycock has had three major retrospectives, organized by Wurttembergischer Kunstverein, Storm King Art Center, and Parrish Art Museum.
MIT Press published the artist’s first hardcover monograph in 2005, entitled Alice Aycock, Sculpture and Projects, authored by Robert Hobbs. In 2016, she completed a large-scale outdoor public artwork entitled Passion/Passiflora Incarnation in Coral Gables, FL, and an 80-foot long entrance sculpture for MGM National Harbor, MD. A permanent large-scale installation will be inaugurated at Pier 27, on the Toronto waterfront, in the fall of 2017.