I make abstract sculptures out of wire by using textile processes to examine obsession and control. These sculptures are made of steel wire instead of conventional fibers, subverting textiles as a medium and pushing the range of expectations associated with hard and soft. This is done to assert the overlooked potential for strength in what is often considered women’s work and vulnerability in what is commonly associated with masculinity and industrialization.

I explore vulnerability and dysfunctional behavior by using obsessively repetitive processes to construct objects that reference penetrable boundaries or are in some way arbitrarily constrained. A desire for control is highlighted by the tight, inflexible forms made with the restriction of a single material. Simultaneously, there is an inherent acceptance of disorder in the lack of precision or adherence to traditional materials in craft. This dichotomy between total control and chaos is negotiated throughout the work.

ArtConnect asked the winning artists to share with us a glimpse into their creative life to get a sense of their personal inspiration and artistic process.

What are some of the central themes you pursue in your work?

My work involves obsession and control, vulnerability and what it means to be dysfunctional. The processes and materials I use open a conversation about expectations and associations with hard and soft.

How has your art practice developed over time?

I’ve always had an interest in crafts and DIY projects like making latch hook rugs and stenciling t-shirts. As an undergrad I decided to major in Photography because it seemed like a practical way to be creative, but in school I started working with wire and really took off with it.

What drew you to work with your medium/media of choice?

I’ve experimented with a lot of different materials like aluminum flashing, plastic tubing and recycled tire soaker tubing. I was interested in all things that came pre-packaged and coiled, but nothing held onto that history of being tightly wound like wire. I’m starting to work with aluminum wire now too because it can be anodized.

What are the biggest challenges you’ve faced as an artist?

One challenge for me has been wanting to make larger work but not having the space to do so. I recently moved into a bigger studio space in Connecticut at the cost of leaving my community in the San Francisco Bay Area. I’m still navigating that change and how I plan to stay connected, but I’m excited for the possibilities.

Describe a typical day in the studio/wherever you make your work.

When I get to the studio I like to put on some kind of background noise, like music or a TV show I’ve already seen. Then I just sit on the floor and start working for hours. I usually have a long term sculpture that I work on as well as some that I can finish in a more reasonable amount of time.

What future directions do you envision for your work?

Lately I’ve been experimenting with anodizing aluminum wire. This is a process where you run electricity through the metal, pitting the surface to then dye it different colors. I’m interested in doing this because of the crossover between sculpture and textiles and I’m curious to see where these trials will lead in terms of finding meaning through the process of making.

See more of Becca Barolli’s work

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