Yael Brotman

In the print sculptures of Scaffolding, I apply my etchings on Japanese paper to varying thicknesses of foamcore. These pieces become my raw material akin to lumber. Whereas earlier 3D works have a neutral colour palette that references wood or metal, Scaffolding introduces small jeweled colour elements: the ends of some of the pieces are painted to mimic lumberyard practices where colour is used as a code for size. The imagery of the etchings that wrap around the foamcore is of knitting patterns of Aran Island sweaters. “This creates a paradox of a hard-edged form that suggests its opposite – something soft and warm.” (Libby Hague, Scaffolding essay, 2015)