"Depending upon the viewer's movement, Shapiro's sculpture shifts from the abstract to the figurative, from hyperkinetic flight to collapse, from purely formal to deeply emotional – like a kaleidoscope whose pieces promise, but finally refuse, to settle into resolution."
P owerfully kinetic, Joel Shapiro's Untitled (Standing Man) skillfully morphs figuration and abstraction, showcases a free-standing shimmering bronze figure balancing on one foot with arms extending. Daring to defy gravity, Untitled (Standing Man) employs a dynamic tension that pulls the “arm” and “leg” elements outward, resulting in a highly choreographed display. Seemingly dancing, falling, or running, Untitled (Standing Man) recalls figures of everyday life, inviting the viewer into psychological explorations relating to mobility and inertia. Single handedly reconsidering the modern figurative tradition, Untitled (Standing Man) reimages our relationship with space. An exercise in our understanding of spatial issues of perception, the present work explores subject matter and emotion, while also retaining an interest in abstraction.
Inspired by prominent Minimalist sculptors such as Carl Andre, Donald Judd and Richard Serra, Shapiro has extrapolated their geometric aesthetic into playful and joyous works that bring human emotion back into the picture. Indeed, the use of the exacting line and austere materials invoke Minimalist tendencies, yet Shapiro effortlessly transforms his sculptures into amenable and approachable compositions. The infinite possibilities arising from the use of his signature human-like form has meticulously sustained the exploration of this particular sculptural method. Untitled (Standing Man) underscores the artist’s nearly sixty-year career and his commitment to creating sculptures that serve as vehicles to understanding abstract and perceptual space.
