At times reminiscent of biological structures and geological formations, Tara Donovanâs work elevates mass-produced industrial materials, such as tar paper, drinking straws, or the silvery metal rings of slinky toys, into mesmerizing installations. Her cumulative process transfigures the mundane into exalted new forms.
Donovan chose one of Alexander Calderâs last works, the distinctive Mountains (1:5 intermediate maquette, 1976), as a touchpoint for this exhibition. Like the vast majority of the legendary sculptorâs masterpieces, Mountains is black. Donovan explains, âMy primary (though not sole) focus on the color black references Calderâs use of black in many of his works as a neutralizing force that flattens sculptural shapes.â
When asked about the role of color in his work, Calder replied, âWell, itâs really secondary. I want things to be differentiated. Black and white are firstâthen red is nextâand then I get sort of vague.â Donovan likens her use of a singular object or material to a different kind of monochromatic practice, one animated by light. Viewers are continuously alert to the transformations brought by the subtle glimmer of tar paper, the sheen of mylar, or the bright reflection of silvery metal. A different animation occurs in Calderâs mobiles, as the moving cacophony of elements delineates changing outlines, clusters, and forms.