The Orozco exhibition, unlike Susan Hillier’s at Tate Britain (to be reviewed next week), has no constant themes. The accent is on diversity. Like Orozco himself his works are not rooted to one place, each is a focused response to a particular place and time resulting in a diverse approach to each work.
Yielding stone: 1992, a giant ball of plasticine sits on the floor as a brooding grey boulder in the gallery space. As an exact weight of the artist, it was rolled through the streets of New York collecting dust, dirt and imprints along its journey, a reflection of the artistâ€™s movement at that time as a response to his life and the environment.
Sitting within the same gallery space sits Elevator: 1994, clean and illuminated on the inside, the open doors inviting the viewer to enter while its old rusting, rarely seen outer mechanical body provides a stark contrast. Orozco has cut away a section of the lift so as to relate it to the human scale as a sculptural piece. The work is a fascinating object, rarely seen in this way as a whale out of water, Orozco likened the piece in a gallery to â€œturning the peel of a half orange inside outâ€.
In a separate room stands a pool table named after the French variation,Carambole with pendulum:1996. Unlike any other pool table this one is oval and with no pockets. Two balls sit on the table while a third hangs suspended slightly above, challenging the viewer to try and hit it. There are no winners or losers in this game although the viewers are invited to make their own rules. The table applies some interesting physical laws including Foulcaultâ€™s pendulum that demonstrated the earthâ€™s rotation whereas I only wanted to hit the dangling ball and almost succeeded in taking out an innocent bystander.
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