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Underskirt, 1986 Oil stain and paint on MDF, cotton mesh Courtesy of the artist and Corbett vs. Dempsey, Chicago |
Diane Simpson’s Formal Wear, spread across two floors at the American Academy of Arts and Letters, felt like walking through a spatial sketchbook, each work translated from drawing into geometry. The show traces Simpson’s decades-long dialogue between clothing and architecture, showcasing how the nature of fabric can serve as both a support system for the body and an expression of form.
I was especially drawn to the play of distortion in her pieces, the way geometries become fluid and,-softened, while maintaining their complexities. Underskirt (1986), with its green lattice and gauzy cotton scrim, looked like scaffolding and fabric that was beautifully suspended. Amish Bonnet (1992), is perched on a shelf, with brass tubing bending into an almost breathing curve. Lastly, Window Dressing (2007–08) composed of hard industrial materials like - aluminium, wood, and industrial fiber - somehow evokes the softness of cloth, creating tension between rigidity and drape. Her works reminded me of industrial design prototypes, objects whose precision carry quiet emotion.
Simpson’s mastery of materials is evident in her work, which is controlled yet deeply human. Her sculptures don’t imitate garments but reimagine how structure might inhabit space as if it were built to stand on its own, inviting interpretation rather than delivering a fixed message. In Formal Wear, Simpson transforms geometry into something that evokes warmth, proving that discipline and distortion can coexist beautifully.
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| Window Dressing, Window 6: Collar & Bib-Deco
(2007/2008)
Linoleum, paint on aluminum and wood, industrial fiber Courtesy of the artist and Corbett vs. Dempsey, Chicago |
I think you've perfectly captured the feeling of walking through the exhibition, it definitely felt like a spatial sketchbook where you can almost see the progress of the pieces being made. Maybe you could expand on how the two levels of the exhibition enhance this experience and makes it feel like a spatial sketchbook. Could mention the bottom level mainly being comprised of 2D representations in an also flat pack like style.
ReplyDeleteI also really like how you've express the distortion of the pieces that allows them to both represent form and structure, helped along as well by Simpson's use of industrial materials. Perhaps you could also add in a portion that discusses the why and theme she was exploring in her decades long exploration of clothing and architecture. Unless of course it was all just generally about linking clothing and architecture, then maybe it could be nice to mention Simpson's broader artistic concerns (ex. gender, domesticity, or modernism).
Overall thorough and thoughtful review that perfectly sums up the exhibition!
Overall, this piece is very beautifully written, especially the way you describe each work in the second paragraph. I really enjoyed how you depicted the exhibition as if it were a “spatial sketchbook”. The way you give an overview of how you were drawn to the distortion in her work and sharing specific works as examples, and also giving short explanations for each work, allows the reader to relate to your thoughts on the exhibition. I think it may be even more helpful if you add descriptions of how the works were placed in general throughout the exhibition, as you did in detail for some of the works. I really enjoyed reading your work!
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