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