.jpg?w=1)
拍品專文
The 1995 Marbles Carpet embodies Lebanese born Mona Hatoum's particular inclination for the minimalist archetypes. The theme of the carpet is especially recurrent in her oeuvre. Successively a praying mantle made of nails, an entrails rug, or a beautifully transparent marbles carpet, the materials used by the artist are charged with controversial, metaphorical or emotional references that contrast the strictness of the geometrical shapes.
Hatoum explains her precise use of marbles:
"I was in Rome trying to work out ideas for a piece, and I kept coming across marble everywhere. It made me wonder whether the marbles kids play with were called that because they were originally made of marble. (…) I came across these transparent (marbles) which had the additional quality of reflecting the light beautifully. So they looked very seductive but at the same time they created an unstable surface on which you could slip and fall." (M. Hatoum, In: 'Mona Hatoum', London 1998, p. 18)
The later division of the piece into two identical carpets has not altered its spectacular quality: after its cellular division it follows the walls of the room it occupies, only leaving a very narrow band to walk around.
In this work, Hatoum forces the viewer to resent the overwhelming presence of the sculpture that not only expand the medium of sculpture but also extend the body of the artist in the third dimension.
Hatoum explains her precise use of marbles:
"I was in Rome trying to work out ideas for a piece, and I kept coming across marble everywhere. It made me wonder whether the marbles kids play with were called that because they were originally made of marble. (…) I came across these transparent (marbles) which had the additional quality of reflecting the light beautifully. So they looked very seductive but at the same time they created an unstable surface on which you could slip and fall." (M. Hatoum, In: 'Mona Hatoum', London 1998, p. 18)
The later division of the piece into two identical carpets has not altered its spectacular quality: after its cellular division it follows the walls of the room it occupies, only leaving a very narrow band to walk around.
In this work, Hatoum forces the viewer to resent the overwhelming presence of the sculpture that not only expand the medium of sculpture but also extend the body of the artist in the third dimension.