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Media: PLA filament (for 3D printing pen), resin, brass, patina

Part of a non-traditional exploration of lace in the exhibition, A Certain Kind of Armor. Using 3D printing pens to preserve the core acts of drawing and writing, Gardner-Roe references shield and body forms that allude to systems of protection through layers of metal and patinas, yet deny a literal translation. The open lacelike network of this body of sculpture begs the question, “What is being protected?” 

The round shape of this work references shields, but so big in this case that the whole body could hide behind. Regarding the theme of protection, I often think about how to protect that childlike sense of exuberance when we first picked up a crayon, especially as a working artist. Thus, the imagery in this work references childhood memories of growing up in the rural Midwest.

Lastly, I am often asked how these pieces are made. It is a layered process that starts out with a 3D printing pen (imagine a hand-held 3D printer, controlled by the artist's hand rather than a computer). After the initial "drawing" is made on glass, I then thicken my line weights with resin and lastly, the work is coated in metal, brass in this case. Since real metal is applied, making it essentially plated, I can then patina the work like traditional sculpture. Thus, the colors seen are either the brass itself or a chemical reaction with the brass.

This work is mounted on 3/4" white PCV panel with a 3/4" beveled edge. The metal has been sealed to prevent further oxidation and changes in color.
Media: PLA filament (for 3D printing pen), resin, brass, patina

Part of a non-traditional exploration of lace in the exhibition, A Certain Kind of Armor. Using 3D printing pens to preserve the core acts of drawing and writing, Gardner-Roe references shield and body forms that allude to systems of protection through layers of metal and patinas, yet deny a literal translation. The open lacelike network of this body of sculpture begs the question, “What is being protected?” 

The round shape of this work references shields, but so big in this case that the whole body could hide behind. Regarding the theme of protection, I often think about how to protect that childlike sense of exuberance when we first picked up a crayon, especially as a working artist. Thus, the imagery in this work references childhood memories of growing up in the rural Midwest.

Lastly, I am often asked how these pieces are made. It is a layered process that starts out with a 3D printing pen (imagine a hand-held 3D printer, controlled by the artist's hand rather than a computer). After the initial "drawing" is made on glass, I then thicken my line weights with resin and lastly, the work is coated in metal, brass in this case. Since real metal is applied, making it essentially plated, I can then patina the work like traditional sculpture. Thus, the colors seen are either the brass itself or a chemical reaction with the brass.

This work is mounted on 3/4" white PCV panel with a 3/4" beveled edge. The metal has been sealed to prevent further oxidation and changes in color.
Media: PLA filament (for 3D printing pen), resin, brass, patina

Part of a non-traditional exploration of lace in the exhibition, A Certain Kind of Armor. Using 3D printing pens to preserve the core acts of drawing and writing, Gardner-Roe references shield and body forms that allude to systems of protection through layers of metal and patinas, yet deny a literal translation. The open lacelike network of this body of sculpture begs the question, “What is being protected?” 

The round shape of this work references shields, but so big in this case that the whole body could hide behind. Regarding the theme of protection, I often think about how to protect that childlike sense of exuberance when we first picked up a crayon, especially as a working artist. Thus, the imagery in this work references childhood memories of growing up in the rural Midwest.

Lastly, I am often asked how these pieces are made. It is a layered process that starts out with a 3D printing pen (imagine a hand-held 3D printer, controlled by the artist's hand rather than a computer). After the initial "drawing" is made on glass, I then thicken my line weights with resin and lastly, the work is coated in metal, brass in this case. Since real metal is applied, making it essentially plated, I can then patina the work like traditional sculpture. Thus, the colors seen are either the brass itself or a chemical reaction with the brass.

This work is mounted on 3/4" white PCV panel with a 3/4" beveled edge. The metal has been sealed to prevent further oxidation and changes in color.
Media: PLA filament (for 3D printing pen), resin, brass, patina

Part of a non-traditional exploration of lace in the exhibition, A Certain Kind of Armor. Using 3D printing pens to preserve the core acts of drawing and writing, Gardner-Roe references shield and body forms that allude to systems of protection through layers of metal and patinas, yet deny a literal translation. The open lacelike network of this body of sculpture begs the question, “What is being protected?” 

The round shape of this work references shields, but so big in this case that the whole body could hide behind. Regarding the theme of protection, I often think about how to protect that childlike sense of exuberance when we first picked up a crayon, especially as a working artist. Thus, the imagery in this work references childhood memories of growing up in the rural Midwest.

Lastly, I am often asked how these pieces are made. It is a layered process that starts out with a 3D printing pen (imagine a hand-held 3D printer, controlled by the artist's hand rather than a computer). After the initial "drawing" is made on glass, I then thicken my line weights with resin and lastly, the work is coated in metal, brass in this case. Since real metal is applied, making it essentially plated, I can then patina the work like traditional sculpture. Thus, the colors seen are either the brass itself or a chemical reaction with the brass.

This work is mounted on 3/4" white PCV panel with a 3/4" beveled edge. The metal has been sealed to prevent further oxidation and changes in color.

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Super Shield No. 2: Camouflage Sculpture

Rachelle Gardner-Roe

United States

Sculpture, Metal on Plastic

Size: 47 W x 47 H x 1 D in

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$6,230

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366 Views

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Media: PLA filament (for 3D printing pen), resin, brass, patina Part of a non-traditional exploration of lace in the exhibition, A Certain Kind of Armor. Using 3D printing pens to preserve the core acts of drawing and writing, Gardner-Roe references shield and body forms that allude to systems of p...

Year Created:

2019

Subject:
Medium:

Sculpture, Metal on Plastic

Rarity:

One-of-a-kind Artwork

Size:

47 W x 47 H x 1 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

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Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United States.

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Artist Statement My work melds my Midwestern rural roots with a multi-media practice including fibers, sculpture and drawing. The intention is to foster a curiosity and love of the natural world through exuberant color and imagery. Often resulting in a maximalist “where’s Waldo” smorgasbord of the natural world, I entice the viewer to keep exploring. This opens the door to conversations around native species, conservation, and caring for the Earth. In the face of the crippling effect of apocalypse fatigue, I hope to start that conversation from a point of love and awe. My work also embraces the figure, as the goal is ultimately to reposition our sense of being “of nature,” as opposed to the modern sense of being separate from it. This work is also indelibly impacted by a long-standing meditation practice, and a desire to integrate a deeply personal practice with the day-to-day work in the studio. In terms of process and technique, drawing is most often the primary act, even if executed outside the route of traditional pencil on paper. Despite using layered processes, I want the viewer to be able to connect to my work on a fundamental level and drawing acts as both an accessible and primal point of entry. In some work, I write poetry with a 3D printing pen, building layers to create sculptural works, so that words become drawing. In my fiber work, I describe creating imagery with thread and a sewing machine as the inverse of drawing, stitched on a painterly field of hand-dyed wool from the Gardner family farm. This melding of drawing and sculpture with fibers is also a means of recontextualizing “women’s work.” Blending historical craft and the generational passing down of knowledge with contemporary practice grounds my work, connecting my rural roots with the here and now. Artist Biography Rachelle Gardner-Roe has been working as an artist in the Kansas City area since the mid-2000s. She grew up in the rural countryside outside of Adrian, MO, on the native land of the Osage, Kickapoo, Kaskaskia and Sioux tribes. She received a Bachelors in Interior Architecture from Kansas State University in 2004. This background in design allowed her to explore various media through a lifelong interest in the fine arts. Her emphasis in furniture design influenced her path in sculpture while her family’s fateful adoption of three sheep in the 1990s led to a herd and eventually a journey down the road of fibers and a practice rooted in the land.

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