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Helen Escobedo: Artistic Freedom and Social Responsibility
by Dawn Ades


Helen Escobedo recently placed 20 painted steel mesh cylinders at Yorkshire Sculpture Park, locating them in a remote pasture far from the galleries and off the main path through the grounds. Each form in Summer Fields consists of a horizontal double cylinder; the outer mesh cylinder is painted red, the inner one yellow. They rest casually in the grass, which is close-bitten by the sheep in some places, elsewhere lush and green. Like much of Escobedo’s work, Summer Fields is intimately geared to its location. The immediate association, in this context, is with the bales of drying hay that dot the summertime landscape all over the U.K. and across Europe. Situated in a classic English parkland, the cylinders are place-specific in a generic sense; but sited elsewhere, they could take on other meanings or another character altogether.

The Great Cone of Jerusalem, 1986.
8 x 7 meters.


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