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In the realm of World War relics, few are as striking as the unique structures found along the southern coast of England, reminiscent of Brutalist interpretations of ancient stone monuments. Commonly known as “concrete ears,” these installations were designed to amplify sound, enabling military personnel to detect incoming aircraft and other wartime indicators prior to the advent of radar technology. However, these structures were constructed after their intended purpose had become obsolete and have remained untouched over time. Their enigmatic presence has intrigued American artist Kevin Beasley, who draws inspiration from them for his latest and largest site-specific sculpture, set to debut on May 7 at the Storm King Art Center in upstate New York. This unveiling is a key part of the art center’s significant $53 million expansion, which aims to enhance visitor experiences through new art installations, landscapes, and facilities.
Currently, Beasley is working in his studio in Queens, New York, on an interpretation of a concrete ear, consisting of four vibrant triptychs that portray the shifting seasons across an abstract horizon. Rather than using traditional painting techniques, Beasley has creatively integrated materials such as secondhand clothing into his artwork. By layering a total of 12 panels with these fabrics, he constructs a tactile collage, which he subsequently encases in resin, preserving the garments as if they were trapped in amber. The choice of materials varies to reflect nature; for instance, light-colored shirts and denim symbolize the sky, while earthy tones represent the ground. In the spring-themed triptych, Beasley incorporates elements like sunflower seeds and dried flowers, while the autumn panels feature tools and crafts associated with harvesting—an aspect that particularly resonates with him. He envisions his installation not just as a visual experience, but as an auditory device that enhances the ability to hear the natural environment. “My hope is that you’ll be able to stand in front of this and any sound that’s coming from behind you or around you will be amplified just in that space,” he shares.
As he discusses his work in the studio, Beasley reflects on his connection to the land, rooted in his upbringing in Lynchburg, Virginia. Visiting a relative’s rural home as a child, which was located about 100 miles from his city, offered him a unique lens through which to view the American landscape. The striking sight of cotton fields nearby brought an unexpected personal realization about the land and its history. “I didn’t expect it to be on personal terms. But I suddenly understood that I hadn’t unpacked the proximity of what this means,” he recalls. Today, Beasley is widely recognized for his innovative use of cotton in mixed-media creations that evoke a sense of ethereality, connecting the threads of past and present, while also confronting the complex legacy of cotton in American history.
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www.architecturaldigest.com