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Gyre Sculpture: Ravens Reconceptualized

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Katie MccGwire, an english designer, has presented an intriguing art installation, that is hard to comprehend without special interest in ravens. Ravens for centuries have been associated with the mystery and dreams, and her installation brings together all these motifs in one incredible twist.

Unique Art Installation

The true definition of the raven black is exposed literally in this weird gesture of twist. The title of the installation, “The Gyre” is a poetic term which means vortex or a whirlwind. The black feathers of the crow which entwine the structure are invading the context of the white room, allowing the viewer to be disturbed, and at some point even frightened.

Shaped in a simple rope like pattern, this huge obsidian construction is breaking the boundaries of the normal world. The fact that the sculpture is captured in motion coming from some kind of a wall seems obscure enough. However, what is more extravagant is that the surface of the sculpture is covered in ravens’ feathers. This makes a morbid and frightening associations with one of the greatest poets, whose famous poem is making the crow a centerpiece of a dream. However, these are just associations, as Katie MccGraw wanted to emphasize all the good in us, by portraying the unbreakable bond between a mother and a child, using her own associations.
Perhaps this description would make the installation appear less frightening and obscure:

“Gyre, a large installation piece bringing together MccGwire’s enduring themes through its gestural obsidian form. Formed from a vast collection of crow feathers, the piece refers to the cultural mythologies of crows as devious creatures, omens of bad luck when seen in pairs and closely associated with death due to their unbidden presence on battlefields and graveyards. These unconscious associations are inscribed in the silken black surface of the structure, and intensify as Gyre’s sheer scale causes it to exceed the boundaries of the cabinet, viscerally invading the formal space of the gallery. The piece appears organic, almost umbilical as its tendrils entwine with one another, wrapped closely to the structure evoking the primal dependence of both mother and child, and the parasite.”

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