Cotter's new body of work is accompanied a text by Ed Krčma, 'To Diagram without Stilling: On Maud Cotter's Sculpture' that explores Cotter's work in relation to expanded conceptions of drawing, centring on her use of linear sculptural forms and modest materials to articulate new perceptual and cognitive potentials in our everyday world.
"Maud Cotter's work sets up an exchange between the most humble and rudimentary of everyday objects and far–reaching abstract and conceptual models. The simplest domestic tools and containers – sieves, waste–paper baskets, cups, lampshades, and filters – provide a first lexicon of forms to be enlarged, augmented and distilled into spare and lively 'drawings in space'. The resulting linear, diagrammatic sculptures are large enough to orient and articulate the rooms in which they are installed, and combine apparent simplicity with a powerful sense of emergent complexity. Their simplicity derives from the compression of their formal means, with Cotter often employing geometric, symmetrical, concentric, and modular structures to order her elements. The complexity is produced both in the process of making by hand, whereby 6mm mild steel rods are bent over the knee and welded together, producing inevitable irregularities, and in the responsiveness of the sculptural drawing to the movements of the viewer’s body, which in turn has its bearing on the movements of the mind."
We would like to thank Culture Ireland for their generous support of this exhibition.