• Dan Graham
    Two Different Anamorphic Surfaces, 2000

  • Jenny Holzer
    Wanås Wall, 2002

  • Antony Gormley
    Together and Apart, 1998

  • Henrik Håkansson
    The Reserve (001), 2009

  • Sarah Schwartz
    Mother, 1990

  • Dan Graham
    Two Different Anamorphic Surfaces, 2000

  • Jenny Holzer
    Wanås Wall, 2002

  • Antony Gormley
    Together and Apart, 1998

  • Henrik Håkansson
    The Reserve (001), 2009

  • Sarah Schwartz
    Mother, 1990

  • Dan Graham
    Two Different Anamorphic Surfaces, 2000

  • Jenny Holzer
    Wanås Wall, 2002

  • Antony Gormley
    Together and Apart, 1998

  • Henrik Håkansson
    The Reserve (001), 2009

  • Sarah Schwartz
    Mother, 1990

  • Dan Graham
    Two Different Anamorphic Surfaces, 2000

  • Jenny Holzer
    Wanås Wall, 2002

  • Antony Gormley
    Together and Apart, 1998

  • Henrik Håkansson
    The Reserve (001), 2009

  • Sarah Schwartz
    Mother, 1990

Martin Puryear


Martin Puryear
(Född/Born 1941, verksam i/works in New York)
Meditation in a Beech Wood, 1996
Vass, trä, betong, stål/Water reed, wood, concrete, steel
Höjd/Height 500 cm
Med stöd från/With support from The American Visionaries

For English please scroll down

I en öppning bland bokarna, i en avskild del av parken, tornar Meditation in a Beech Wood upp sig, en fem meter hög skulptur i vass. Den är formad som en huvudlös, sittande Buddhafigur. Dess stora, organiska och taktila format samt mjuka kroppsliga former gör att den kan upplevas som både inbjudande och monumental.

Martin Puryear har en stark relation till Sverige. Han läste vid Kungliga Konsthögskolan i Stockholm på 1960-talet och inspirationen till Meditation in a Beech Wood fick Puryear från Carl Milles förgyllda träskulptur från 1925 av en sittande Gustav Vasa, som möter besökarna i entréhallen på Nordiska museet i Stockholm. I samband med sitt projekt på Wanås intresserade sig Puryear för de hus med vasstak som förekommer i Skåne, Danmark och Tyskland. Vassen till Meditation in a Beech Wood kommer från sjön Tåkern i Östergötland och har lagts av den holländske takexperten Adam Ooms.

Puryear började arbeta som konstnär under 1970-talet, när många av hans kollegor arbetade med minimalismens reducerande, abstrakta stil. Med utgångspunkt såväl i denna konstinriktning som i traditionellt hantverk utvecklade han ett eget formspråk. I sina skulpturer använder Puryear naturliga material, som metaller, sten, gräs och trä, vilka han ger abstrakta, drömlika former.

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In an opening among the beech trees, in a secluded area of the park, Meditation in a Beech Wood towers high, a five-metre-high sculpture in reeds. It is shaped like a headless, seated Buddha figure. Its large, organic, and tactile format, as well as its smooth bodily form, makes it feel both inviting and monumental.

Martin Puryear has a strong relationship to Sweden. He studied at the Royal Institute of Art in Stockholm in the 1960s, and he gained the inspiration for Meditation in a Beech Wood from Carl Milles’ gilded wood sculpture from 1925 of a seated Gustav Vasa, greeting visitors in the entrance hall of the Nordic Museum in Stockholm. In connection with his project at Wanås, Puryear became interested in the houses with reed roofs that can be found in Skåne, Denmark, and Germany. The reeds for Meditation in a Beech Wood come from the lake Tåkern in Östergötland and are thatched by Dutch thatching expert Adam Ooms.

Puryear began working as an artist in the 1970s, when many of his colleagues were working with the reduced, abstract style of minimalism. Beginning with both this artistic direction and handicraft traditions, he developed his own idiom. In his sculptures, Puryear uses natural materials such as metals, stone, grasses, and wood, which he gives abstract, dreamlike forms.