How would you describe 100 Sculptors of Tomorrow?
100 Sculptors of Tomorrow is ultimately a celebration of art. It is at once a project, a movement, a publication, and in many respects a fraternity linking this very diverse group of extremely talented artists. After the first book, 100 Painters (2014), I felt that we would be remiss if we didn’t pursue the possibility of creating a legacy of books. I see this as something that is bigger than the sum of its parts; and the possibilities for both the book and the trajectory of the artists included is limitless. It would be a misconception to say that ‘this is it, these are the only important artists’ but rather, this is about providing a cross-section, a sampling of what is happening now in sculpture across the globe. From small, table-top sculpture like Damian Hoar de Galvan to monolithic land-art performance works of Emmanuel Tovar, we wanted to broaden the definition of sculpture for a 21st century audience, and redefine what sculpture means, and how it can be received. I see a lot of joy in the book, and what we realized (just like with the first book) we discovered such a breadth and diversity within what we perceive as sculpture.
You’ve mentioned that with this book you’d like to open the definition of sculpture, how would you define sculpture in 2019?
The word that comes to mind is possibility. I don’t think that’s as abstract an answer as it may seem at first, because the book takes the reader on a journey – and every time I open the book I myself find something new, something enticing. I think in this world that we live in, putting down more parameters is so antithetical to what ‘art’ purports to be about, so the book is about blowing those categorizations wide open. I am compelled to think of Rachel Ara’s self-evaluating art-work, or EJ Hill’s ‘rollercoasters’ that comment on race and identity, to the sound art of Haroon Mirza. I think we tend to think quite narrowly about the disciplines in art, but really, as we quickly decided when doing the first book, we wanted to think broadly, approach the classification like a funnel, and allow ourselves to be inclusive. We have textile, performance, sound, even ecologically conscious art. Not everything included has to be monumental or life-changing, but the work throughout is playful, intelligent, thoughtful, comprehensive, and surprising.