| I have the desire to achieve in my sculpture an accessible, spontaneous experience for the viewer that is bold, exuberant, swollen, but also exquisitely delicate and smart. I combine two mediums that seem to naturally accomplish this best: air and lightweight colorful fabric. I restrict the form with the stitches and seams, so that they will become intricate organisms as the pieces balloon. I use this unexpected alchemy to achieve beauty, through a sensual lightness and a bold presence, all the while, smiling at what Parisians breathe. It is an “Air de Paris” filled with fashion, seduction, appearance, futility, irreverence, and humor. |  |
Anne Ferrer
I have the desire to achieve in my sculpture an accessible, spontaneous experience for the viewer that is bold, exuberant, swollen, but also exquisitely delicate and smart. I combine two mediums that seem to naturally accomplish this best: air and lightweight colorful fabric. I restrict the form with the stitches and seams, so that they will become intricate organisms as the pieces balloon. I use this unexpected alchemy to achieve beauty, through a sensual lightness and a bold presence, all the while, smiling at what Parisians breathe. It is an “Air de Paris” filled with fashion, seduction, appearance, futility, irreverence, and humor. This “souffle,” impulsion of freedom is inspired by the energy and boldness I discovered and loved in American art while I was an art student at Yale in the 80s. I earned my MFA there in 1988. American art critic, Julie Johnson, writes that this work is “light, air-filled, and sewn of hot colorful fabric. The sculptures are luscious, ripe, and over-the-top. With time, they have expanded to take over the entire space, crowding up to the walls. Some have been edible collaborations with pastry chefs, and lately some are created with perfumists as well as composers. They are a feast for the senses, a visual ravishment. Like the original Gargantua, who was born from a feast of tripe in a delicious garden, the work was born from associations with delicious consumption, beauty, and sexuality, but also from the world’s aggressive or violent associations. This is the line where pleasure and the disgust of over-consumption meet.” I want my work to be totally vain and essential.
