Los Angeles

Peter Shelton

L.A. Louver

A reverent stillness permeates Peter Shelton’s recent sculptural installation Sixtyslippers, 1997. The work consists of sixty cast-iron cones of varying diameters suspended from the ceiling with wire cable, hovering roughly a quarter-inch above the floor in no particular pattern. The cones fill the gallery space while allowing the viewer to move around and through them.

Like many of his peers who began making sculptural installations in the ’80s, Shelton’s work combines Minimalism’s geometric reductions with post-Minimalism’s allusions to human and organic forms. There has also been a marked emphasis on narrative and metaphor in his art, with associative meanings relating in a kind of syntax, forming visual sentences (a trope common in the work of sculptors such as Tony Cragg, Richard Deacon, and Liz Larner).

Architectural space and the human body have been preoccupations, at least implicit

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