Fri October 8 - Wed November 24, 2021
Gina Telcocci: Fabricating Futures & Involuntary Gestures
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The Roll Up Project is pleased to present sculptures by Gina Telcocci. Telcocci makes abstract sculptures that reflect on the passage of time, natural forms and aspects of movement.
Telcocci works primarily with found and foraged materials. Over the course of her career, she has utilized objects like seed pods, acorns, and branches, which are combined with paper, reed, wax, wire, plaster, and other materials to form objects that feel familiar, but otherworldly.
Three sculptures comprise the Fabricating Futures installation in the Harrison Street window: Power of Flower (2019), A Bright Idea (2019) and Coney (2019). Power of Flower is a large vessel composed of reed and rag paper, and its wide funnel shape exemplifies Telcocci's skill in basketweaving. The gridded lines of the reed create a distinctive pattern and texture against the luminous paper skin, drawing the eye into a disappearing center. The shape is reminiscent of phonograph horns, black holes, tornados, or flowers in full bloom. The viewer may see the shape as expanding out, or contracting in. The center of A Bright Idea is stretched and expanded, and the surface is almost translucent. At its tapering ends, the form is solid and dark. Coney is completely opaque, and its reed structure is painted a deep red to contrast the mottled interior of the funnel shape.
Involuntary Gestures fills the windows on Third Street. Several small-scale sculptures ranging from long, slender pods to plump orbs to funnels or shuttlecocks are suspended throughout the space. Collectively, they underscore the formal concepts of sculpture: structure, form, line, color, volume, and texture. With even the slightest draft, they sway and turn, adding the dynamic element of movement. As suggested by the installation title, they celebrate the improvisations and repeated gestures that are a part of studio work. The shapes are a result of an iterative process of refining, looking, thinking, and repeating the process.
Several works feature mixed media surfaces which are applied over the woven structures and then partially sanded away. They have the soft, worn feeling of a beloved but threadbare toy, or something abandoned outdoors and left to the elements. The skeletal underpinnings are revealed, creating interesting patterns along the surface.
Telcocci's sculptures are open to interpretation, and allow viewers not to ascribe any single meaning onto them. Instead, they encourage viewers to consider all of the fantastic forms, textures, and patterns that exist in everyday life.
Learn more about her work at ginatelcocci.com.
show less
Telcocci works primarily with found and foraged materials. Over the course of her career, she has utilized objects like seed pods, acorns, and branches, which are combined with paper, reed, wax, wire, plaster, and other materials to form objects that feel familiar, but otherworldly.
Three sculptures comprise the Fabricating Futures installation in the Harrison Street window: Power of Flower (2019), A Bright Idea (2019) and Coney (2019). Power of Flower is a large vessel composed of reed and rag paper, and its wide funnel shape exemplifies Telcocci's skill in basketweaving. The gridded lines of the reed create a distinctive pattern and texture against the luminous paper skin, drawing the eye into a disappearing center. The shape is reminiscent of phonograph horns, black holes, tornados, or flowers in full bloom. The viewer may see the shape as expanding out, or contracting in. The center of A Bright Idea is stretched and expanded, and the surface is almost translucent. At its tapering ends, the form is solid and dark. Coney is completely opaque, and its reed structure is painted a deep red to contrast the mottled interior of the funnel shape.
Involuntary Gestures fills the windows on Third Street. Several small-scale sculptures ranging from long, slender pods to plump orbs to funnels or shuttlecocks are suspended throughout the space. Collectively, they underscore the formal concepts of sculpture: structure, form, line, color, volume, and texture. With even the slightest draft, they sway and turn, adding the dynamic element of movement. As suggested by the installation title, they celebrate the improvisations and repeated gestures that are a part of studio work. The shapes are a result of an iterative process of refining, looking, thinking, and repeating the process.
Several works feature mixed media surfaces which are applied over the woven structures and then partially sanded away. They have the soft, worn feeling of a beloved but threadbare toy, or something abandoned outdoors and left to the elements. The skeletal underpinnings are revealed, creating interesting patterns along the surface.
Telcocci's sculptures are open to interpretation, and allow viewers not to ascribe any single meaning onto them. Instead, they encourage viewers to consider all of the fantastic forms, textures, and patterns that exist in everyday life.
Learn more about her work at ginatelcocci.com.
The Roll Up Project is pleased to present sculptures by Gina Telcocci. Telcocci makes abstract sculptures that reflect on the passage of time, natural forms and aspects of movement.
Telcocci works primarily with found and foraged materials. Over the course of her career, she has utilized objects like seed pods, acorns, and branches, which are combined with paper, reed, wax, wire, plaster, and other materials to form objects that feel familiar, but otherworldly.
Three sculptures comprise the Fabricating Futures installation in the Harrison Street window: Power of Flower (2019), A Bright Idea (2019) and Coney (2019). Power of Flower is a large vessel composed of reed and rag paper, and its wide funnel shape exemplifies Telcocci's skill in basketweaving. The gridded lines of the reed create a distinctive pattern and texture against the luminous paper skin, drawing the eye into a disappearing center. The shape is reminiscent of phonograph horns, black holes, tornados, or flowers in full bloom. The viewer may see the shape as expanding out, or contracting in. The center of A Bright Idea is stretched and expanded, and the surface is almost translucent. At its tapering ends, the form is solid and dark. Coney is completely opaque, and its reed structure is painted a deep red to contrast the mottled interior of the funnel shape.
Involuntary Gestures fills the windows on Third Street. Several small-scale sculptures ranging from long, slender pods to plump orbs to funnels or shuttlecocks are suspended throughout the space. Collectively, they underscore the formal concepts of sculpture: structure, form, line, color, volume, and texture. With even the slightest draft, they sway and turn, adding the dynamic element of movement. As suggested by the installation title, they celebrate the improvisations and repeated gestures that are a part of studio work. The shapes are a result of an iterative process of refining, looking, thinking, and repeating the process.
Several works feature mixed media surfaces which are applied over the woven structures and then partially sanded away. They have the soft, worn feeling of a beloved but threadbare toy, or something abandoned outdoors and left to the elements. The skeletal underpinnings are revealed, creating interesting patterns along the surface.
Telcocci's sculptures are open to interpretation, and allow viewers not to ascribe any single meaning onto them. Instead, they encourage viewers to consider all of the fantastic forms, textures, and patterns that exist in everyday life.
Learn more about her work at ginatelcocci.com.
read more
Telcocci works primarily with found and foraged materials. Over the course of her career, she has utilized objects like seed pods, acorns, and branches, which are combined with paper, reed, wax, wire, plaster, and other materials to form objects that feel familiar, but otherworldly.
Three sculptures comprise the Fabricating Futures installation in the Harrison Street window: Power of Flower (2019), A Bright Idea (2019) and Coney (2019). Power of Flower is a large vessel composed of reed and rag paper, and its wide funnel shape exemplifies Telcocci's skill in basketweaving. The gridded lines of the reed create a distinctive pattern and texture against the luminous paper skin, drawing the eye into a disappearing center. The shape is reminiscent of phonograph horns, black holes, tornados, or flowers in full bloom. The viewer may see the shape as expanding out, or contracting in. The center of A Bright Idea is stretched and expanded, and the surface is almost translucent. At its tapering ends, the form is solid and dark. Coney is completely opaque, and its reed structure is painted a deep red to contrast the mottled interior of the funnel shape.
Involuntary Gestures fills the windows on Third Street. Several small-scale sculptures ranging from long, slender pods to plump orbs to funnels or shuttlecocks are suspended throughout the space. Collectively, they underscore the formal concepts of sculpture: structure, form, line, color, volume, and texture. With even the slightest draft, they sway and turn, adding the dynamic element of movement. As suggested by the installation title, they celebrate the improvisations and repeated gestures that are a part of studio work. The shapes are a result of an iterative process of refining, looking, thinking, and repeating the process.
Several works feature mixed media surfaces which are applied over the woven structures and then partially sanded away. They have the soft, worn feeling of a beloved but threadbare toy, or something abandoned outdoors and left to the elements. The skeletal underpinnings are revealed, creating interesting patterns along the surface.
Telcocci's sculptures are open to interpretation, and allow viewers not to ascribe any single meaning onto them. Instead, they encourage viewers to consider all of the fantastic forms, textures, and patterns that exist in everyday life.
Learn more about her work at ginatelcocci.com.
show less
Date/Times:
217 Harrison Street, Oakland, CA 94607
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