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Paper Becoming Leaves: Ivy Leaves Screen Sculpture

Sandy Bleifer

United States

Sculpture

Size: 85 W x 48 H x 8 D in

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About The Artwork

6 panels, each: 16”W x 48”H x 8”D (under 8' wide when assembled) Hand Made Paper (Abaca) / Airbrush (gouache) / acrylic - mounted on silk panels and framed by furniture artist, David Perry Concept: Expresses the common aspects of ivy leaves and paper: their inherent flatness and the similar qualities of coloration of variegated ivy with poured pulp. The 6 panels are comprised of 2 halves of 3 cast paper sheets. The three colors of ivy are represented: solid green, white and variegated. From left to right, there are geometric divisions between the colors of ivy that continue across the panels without interrupting the forms of individual leaves. The leaves were formed by pressing wet pulp into the backs of actual ivy leaves (just as bakers form chocolate leaves for cake decoration). The backs of the leaves provide a ready-made mold for creating a positive of the leaf. The geometric shapes can represent both the shadows of a building on a bed of ivy and an abstract compositional device to connect and organize the color areas across the 3 cast sheets. The straight edges of the geometric divisions as well as the slicing of each poured sheet contrast with the uneven edge of the leaves on the top, bottom and both sides of the original triptych.

Details & Dimensions

Sculpture:Paper on Paper

Original:One-of-a-kind Artwork

Size:85 W x 48 H x 8 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Sandy Bleifer received her B.A. in Fine Arts at U.C.L.A. in 1962 and worked as an Artist in Residence, an art teacher, docent and publisher of curriculum materials in the arts. With the support of “Space”, a seminal Los Angeles gallery under the direction of Edward Den Lau, she exhibited and sold her work from the early ‘70s through 1997. The artist's work is in over 200 private and public collections worldwide. Her personal idiom began with silkscreen, collage and an exploration of of paper: a continuing discovery into its complex nature and its ability to serve as a metaphor for the world around us. Early in her career as an exhibiting artist, social and political activism crept into the mix. Soon she began creating art installations that became a focus and galvanizing force for the reconsideration of major historical events: the Holocaust and the bombing of Hiroshima and Nagasaki. In the mid-1990s she focused her attention on a pivotal moment in Los Angeles’ contemporary history: the revitalization of downtown LA. Now in recent years, she is further imbuing her art with a pro-active agenda using interactive installations, video and community engagement with threads that can be seen in her prior aesthetic concerns – paper as a metaphor for life, environment and the human condition.

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