Wax Works, 2016

The wax sculptures are a collision of two histories, a convergence of two separate societal time lines. Once used to mass-produce functional and decorative objects, the commercial molds allowed the wax to solidify as a form negating the functionality of the pieces. Wax is temporal. Its form changes rapidly and allows its surroundings to influence it profoundly. The objects encased within are industrial catalysts, objects that precipitate and often affect a particular event. These catalysts of force or desire are neutralized inside of the wax forms, allowing them to be embraced in the interior of the wax and therefore rendered purposeless. The merging of commerciality with force allows for a more lucid vision of the convergence of two seemingly different paths that humanity has a tendency to walk. 

Mother of Mercy, 2016, 9.5” x 8” x 11.5”, wax and hammer


Nail Platter, 2016, 16” x 16” x 2”, wax and nails


Bad Metaphor for Late Capitalistic Reality 2016, 6” x 4.5” x 6”, wax and expended table saw brake


I Don't Want You to Catch Whatever This Is, 2016, 11.75” x 5.5” x 3”, used Iphone, USB cord, wax


Upended Echo, 2016, 5.5” x 7.25” x 3”, railroad nail and wax


Screw Eggs, 2016, each 1.75” x 1.75” x 3.5”, wax and screws


Wax Works Photographs by Grace Millar