Paper Installation Sculpture
Almond Zigmund wants you to laugh at her artwork—or laugh with them, that is. She mingles a unique collection of patterns and shocking palettes on flat planes that appear multi-dimensional and leave you wondering, “What’s in front? What’s in back… How did I get here?” Consider the artist’s works to be a banana peel at the sure footing of time and dimension. She works large, installing her helter-skelter planes in spaces ranging from public to corporate (some take up whole rooms). Always, the fixation is on “eschewing language in search of something that is non-linear.” And for the viewer, this is where the intrigue begins.
Her process is “visceral” and “reactive” though the linear quality is simple, minimalistic even. The textures are flat though they seem to be not only 3D, but moving, feeling lighthearted at first though the aftertaste is straight up menacing. You might say it’s what a fun house would grow up to be, if its sliding floors and narrowing walls got PhDs. It is in effect a visual experience that becomes multi-sensory.
The patterns are human made, though they are Zigmund’s “attempt to organize nature…I’m interested in the absurd.” And the sculptures, whether they stand alone or as part of a larger installation, share the same charismatic sense of self; they are “self-contained…discreet objects.” Colors are “always high contrast…high saturation,” which serves the artist’s interest in “friction and dynamism.” The effect is the engagement of an illusionist who invokes multiple vanishing points that shift before your eyes to create an enigmatic aesthetic.
Works on paper radiate the same Hitchcockian paradox, though the process is different. Here, the artist implements a flocking technique, “like old wallpaper,” in which she works with layers of glue paint to apply miniscule sprinkles of nylon fibers to create the patterns. Nevertheless, the small works nod at the larger architectural installations and hold true to the artist’s intention to render “the implication of sound.”