
Lynda Benglis‘s Hills and Clouds depicts a landscape draped over an architectonic structure that holds up and in some areas pierces organic, phosphorescent forms.
This presentation of Hills and Clouds follows the work’s debut in the outdoor environs of Storm King Art Center in 2015, where the phosphorescent pigment that Benglis used to create the sculpture transformed it into a glowing spectral presence each evening after darkness fell. Benglis created Hills and Clouds using cast polyurethane, phosphorescent pigment, and stainless steel. Benglis, who created her first phosphorescent piece in 1971, has long been intrigued by natural phosphorescence, whether found in bioluminescent waters and phosphorescent caves or in the glow of fireflies. About this work, Benglis has said: ‘I wanted to imply something that appears to rise instead of being connected entirely to the earth. I always work with materials and question how I can push them further...how far can I go with the allusion of the material?...It’s a matter of creating an image that moves.’

Lynda Benglis (b. 1941, Lake Charles, Louisiana) lives and works in New York; Santa Fe; Kastellorizo, Greece; and Ahmedabad, India. First recognised in the late 1960s for her poured latex and foam works, Benglis created work that was a perfectly timed retort to the male-dominated fusion of painting and sculpture with the advent of Process Art and Minimalism. Known for her exploration of metaphorical and biomorphic shapes, she is deeply concerned with the physicality of form and how it affects the viewer, using a wide range of materials to render dynamic impressions of mass and surface: soft becomes hard, hard becomes soft, and gestures are frozen.
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