Sculpture
by Deborah Everett
The most immediate
impression from Brandt's sculpture is its seamless coupling of welded
steel to a very human sensibility. In contrast to the industrialism of
their material, these objects reflect personal realities through a variety
of willowy shapes. Composed of complex patterns of linear tubing, they
frequently enclose a core chamber, shielding the interior from external
conditions. At the same time, the lightness of their lattice-like exteriors
is often underscored by rising postures of a poised, hovering effect.
This sense of ascendance takes forms ranging from upright figures about
to lift off, to ethereal habitats as wispy as spires or aviaries. Her
"Thorpe Gazebo," for example, has supports that barely touch
the ground before bouncing upward, to cradle seats that almost float.
Its untethered quality is emphasized by an invitingly open center, which
provides visual contact with the world while appealing to our innate desire
for shelter. These effects are mirrored in numerous other pieces alluding
to the sanctuary of buildings. Even an abstract work like "Arches,"
for instance, can optically shift toward an architectural reading; from
a frontal perspective, its separate, curved elements suddenly link and
form the ribbed aisle of a Gothic cathedral.
These works are anchored to the body through their definition of space
as human refuge, while maintaining open vistas that nourish
the psyche through the senses. They are, essentially, elegant bird cages for humanity- fusing enclosure and airiness into havens for a predatory world. Many of Brandt's figurative pieces are likewise intended for occupation - that is, one can literally get inside of them. But the human contours of these forms add another dimension to the shelter they provide, often implying suits of armor and battle gear. "Olympia," for instance, is a colossal, striding woman, caught in Muybridge-like motion. Evoking a present-day Amazon, it asserts its combat readiness through articulated muscularity and a helmeted headdress; but it also allows for a rider inside, then shifting toward a Trojan Horse-like mode of transport. Related defensive effects arise from smaller fitted pieces for specific body parts - suggesting prosthetic devices that compensate for past losses while preventing future ones. These associations are unavoidable when viewing her "Knee Chamber" or "Rose Bodice." Protecting their wearers from attack or accident, these are machines of invulnerability. They lend the fortitude required to expose a frail body to harsh environments, and point to the mind's strategies for safeguarding its vulnerable body. This adaptive behavior reverberates with the perennial human conundrum of the mortal coil - that gnawing awareness of the tenuousness of our existence. Of all our psychological burdens, the heaviest may be our bondage to a frame that is ultimately fragile and defenseless.
But do Brandt's figural forms reflect a sympathetic protectiveness only,
Clockwise from top left:
Olympia, 1999-2001.Welded steel and rubber wheels, 75 x 25 x 18 in.
Bridge Variation, 1992. Welded steel, 36 x 8 x 86 in.
Knee Chamber, 1982. Steel and painted canvas, 16 x 7 x 8 in.
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