The manufactured components I incorporate are elements of the modern industrial age: doorknobs, electrical outlets, extension cords, traffic cones, etc. all of which can be bought at the local hardware store. The bright, un-modulated color of extension cords, for example, attests to their artificial fabrication and unwittingly reveals a facet of our consumer culture. The strategy is to liberate these objects from their everyday functions by combining them in unexpected configurations that tease us with some sense of use, like an elaborate Rube Goldberg contraption, but actually do nothing.
ABOUT THE ARTIST
Chicago artist Victoria Fuller has an MFA from the School of the Art Institute of Chicago, and in 2020 She was awarded the Dean Alan Olson Purchase Award at the Rockford Art Museum and she was awarded Best of Show at the 2021 Evanston and Vicinity Biennial. In 2019 she was awarded the Department of Cultural Affairs and Special Events (DCASE) Independent Artist Project Grant and an Illinois Arts Council CAAP Grant, in 2009. She also received fellowship awards from Illinois Arts Council and from the Colorado Council on the Arts and Humanities. She completed artist residencies at both Ragdale Foundation and at Sculpture Space. Her large-scale public sculpture “Shoe of Shoes” is in the collection of Caleres Shoes in St. Louis. Her sculptures have been commissioned by Sound Transit in Seattle, Comed in Chicago, and Arts in Transit in St, Louis. Her large-scale public sculpture, titled “Canoe Fan,” was purchased by the city of Ann Arbor and installed in Gallop Park. four pieces of her artwork are not in the collection of Artemizia Foundation Museum, i Bisbee AZ. She has been featured in Sculpture Magazine, Bad at Sports, Hyperallergic, Scientific American Blog, Seattle Times, Chicago Tribune, and Western Art and Architecture Magazine.
© Victoria Fuller