Eva Rothschild’s monumental work, Nature and Culture, seems to transcend the limitations of the structure itself. The tumultuous web of interconnected lines is, on closer inspection, eight panels of latticed, hand-painted aluminium that sometimes adjoin and elsewhere fall short of each other, creating small gaps of air. The precarious sense of physical energy the work creates both confuses the eye, and elicits the viewer’s active engagement.
Bearing witness to the artist’s enduring interest in, and subversion of, Minimalism and Constructivism, Nature and Culture, arguably both ascribes to, and challenges, the Constructivist prescription that a sculpture’s opposition to its environment should be purely conceptual, and instead offers a form that is delicately beautiful and stoically present. Rothschild presents us with both the destabilising material solidity of the metal, and the fragile intangibility of the spaces between each rod of aluminium; the tension created by the combination of corporeal and abstract or metaphysical, invites an investigation into the myriad points of overlapping connectivity, perspective and value that govern our personalities.