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June 27, 2005
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| Sculptor Nicolas Africano works exclusively from models of his wife Rebecca. He says she's the perfect model because she's not very good at it, and so her poses convey a sense of feeling out of place. (MPR Photo/Marianne Combs) |
Minneapolis, Minn. — Walking into Weinstein Gallery visitors are suddenly surrounded by silhouetted figures. They're glass sculptures, all of the same woman, but so dark that they seem to absorb light.
This is the work of Nicolas Africano. He was a hot artist in New York in the late 1970s and early 80s, and still has a devoted following. Major museums have added his work to their permanent collections, including MOMA, the Met, and the Whitney. Gallery owner Martin Weinstein says he's already had an art collector buy one of the works, before the show was completely unpacked.
"Nicolas has an edge to him, so his work does also," says Weinstein.
But what kind of edge? Africano, a distinguished man dressed in linen and silk, doesn't see one. He consistently downplays the importance of both his art, and his existence.
"I have chosen to confine myself to the simplest of means, both in terms of material and subject, and in the end I want the simplest outcome," says Africano. Africano's sculptures are all based on studies of his wife Rebecca. She's often naked or sometimes her sculpture is covered in a cloth dress. Some viewers might at first see a resemblance to the work of Edgar Degas.
But Africano's sculptures are devoid of context - there are no ballet shoes or washing tubs to suggest a story. For his latest series of sculptures, he used a dark olive colored glass, which allows light to penetrate just at the thinnest points of her body. Africano only works with the wax molds of his sculptures. An assistant does all of the casting.
"I don't really know much about glass," says Africano. "I don't like to see what happens in the rooms where things are cast. I hate to see pieces come out of molds, I don't like the work, I don't like plaster, I don't care about all of that."
Frankly it's a challenge talking to Africano about his work. After a while he begins to sound a bit like Eeyore from Winnie the Pooh, just more negative.
He says he believes in almost nothing - he doesn't believe he really can know anything - and his work is simply a reflection of that confusion.
Africano started out as a poet, then became interested in drawing work to accompany the poetry. Over time the visual art became more important and the writing less so. But still the influence of writing remains. Africano says he's playing with the simplest of details within the structure of glass casting, much like a poet confined to the lines of a sonnet.
Africano's exhibit of both sculptures and paintings runs through August 6 at Weinstein Gallery in Minneapolis. Owner Martin Weinstein says it's a unique opportunity for art lovers.
"What they're getting to see here is an artist who's not affected by the trends, not affected by who's hot, not affected by what gallery is important today, but an artist who truly is an artist, doing great work, going his own way," says Weinstein.
As for Nicolas Africano, he has no expectations of what the audience might get out of his work. He just hopes they stay awhile. Africano's not all negative. He says he loves beauty, intelligence, and passionate believers. He just doesn't share the passion.
"I'm really in the world with only a marginal understanding of any of it," says Africano, "and while I think there have been beautiful ideas, they don't really help much."
With that Africano leaves the gallery to smoke a cigarette and have a cup of coffee. Meanwhile the hauntingly beautiful images of his wife stand mute in the gallery.
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