Coleen Sterritt's odd and idiosyncratic work
prods at the spaces between manufacture
and nature, anonymity and authorship, art
and craft. Offering an extended medita -
tion on artifice, her objects teeter between
variants of reality and their opposites. Her
forms are based on an elaborate crypto -
botany of her own invention, a rotation
of natural and other facts, manifested in
crude, yet refined renditions of still-life
objects, architecture, and implements.
Because of her strange, but consistent
interior logic, she retains a hold on the
world of concrete things.
Sterritt's body of work questions interactions
between the urban environment
and surrounding nature, reinterpreting
the distances separating a prosaic and
alienating reality from a lyrical and imaginative
dimension. Her use of materials,
both found and fabricated, lends value
to things once invisible and valueless,
granting the power of seduction to objects
generally devoid of that quality
...see the entire article in the print version of June's Sculpture magazine.
Fleur du Mal, 2016. Wood, Fix ALL, agave stump,
fishing line, bamboo, foam rubber, tape, and paint,
80 x 64 x 32 in.