We can frequently describe her sculptures as though they had some quite obvious use but their purpose is always withheld.
#CHICKEN WIRE AND PLASTER SCULPTURE MANUAL#
Apparently simple arrangements of anonymous materials are welded, bolted and slotted together using the most basic manual skills, and the sculptures are constructed almost diagrammatically. The viewer must step beyond what is known, what is visible and concrete, into the dangerous territory of imagination and fantasy, 'ART', Solano says, 'WOULD NOT EXIST WITHOUT THE MYSTERY OF THE INEXPLICABLE.' The formal orchestrations of Solano's work deal with apprehension and delay. The sealed, empty cage the immense table with its protective plastic covering the galvanised troughs and gigantic iron hearth all represent psychological thresholds as much as physical barriers. The only figures in Solano's sculptures are their viewers, and we are simultaneously excluded and tempted to imagine what it would be like to enter her works: to lie on the cold, high table, stand or squat on the raised platform in the narrow cage, stare back from the glass from the other side in the double-cell. The uses to which these sturdy objects might be put are not exactly innocent: they are readily seen as devices for the containment and display of the human being. With their steel-mesh grilles, iron walls, welded containers, sheets of lead and glass panels, Susana Solano's sculptures look as though they have been designed and fabricated for some specific but unnamed purpose.
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