Chicago is currently showcasing the innovative works of artist Diane Simpson with her first three outdoor sculptures on display at the rooftop terrace of the Art Institute of Chicago. Additionally, the gallery Corbett vs. Dempsey features two key pieces from her extensive career, marking a significant moment for the 90-year-old artist. These exhibitions highlight her unique approach to sculpture, which challenges traditional forms and perceptions.
Unlike conventional sculptures that maintain a consistent three-dimensional presence, Simpson’s art plays with perspective. Observers may find that her works shift in appearance as they move around them; what seems deep from one angle may appear flat from another. This intriguing quality stems from her creative process, which begins with inspiration drawn from three-dimensional objects such as samurai armor or furniture. She employs isometric projection, a technique often used in engineering, to draft her initial designs. By translating these drawings into three-dimensional forms while retaining the angles and parallels of the projections, Simpson’s sculptures defy the rules of physical space, offering viewers an experience akin to navigating a drawing.
Simpson, who was born in 1935 in Joliet, Illinois, has enjoyed a remarkable resurgence in her career over the past decade. She has participated in her first Whitney Biennial, held retrospectives, and completed her first outdoor commissions. Despite a late start in her career, taking ten years to finish her BFA due to family commitments, she has built a substantial body of work over the years. Her journey has been characterized by persistence, creativity, and a willingness to experiment with materials.
Her sculptures, often constructed from materials that bear little relation to their initial inspiration, include an array of items such as wood, metal sheeting, and even printed fabrics. For instance, her notable piece “Thinly Veiled” (1985) reflects historical dress while simultaneously evoking architectural forms, showcasing her ability to blend references from various domains. The translation of her ideas into tangible forms involves meticulous craftsmanship, with Simpson fabricating her sculptures from scratch without assistants, resulting in inventive techniques and imaginative structures.
Exploring the Latest Works
Simpson’s recent works, including the outdoor installations titled “Good for Future,” have introduced even greater complexity. This exhibit, part of her ongoing exploration of furniture and architectural details, features three new commissions on the terrace of the Art Institute. The title itself stems from a note she made in the 1980s, underscoring her long-term vision for her art. The sculptures, adorned in shades of periwinkle, sky blue, and olive, invite comparisons to the city’s skyline and classic architectural forms.
Set against the backdrop of Chicago’s high-rises, the pieces evoke various interpretations – from rocket launchers to perfume bottles. The use of exterior-grade MDF adds a fresh dimension to her work, with new assistants helping due to the material’s weight. Simpson’s latest creations maintain the playful confusion of her earlier works, compelling visitors to engage with them from multiple perspectives.
Her exhibition at Corbett vs. Dempsey runs until February 28, while “Good for Future” on the Bluhm Family Terrace will be on view until April 19. These displays not only celebrate Simpson’s artistic achievements but also invite a broader audience to engage with her unique vision.
Through her innovative use of materials and perspectives, Diane Simpson continues to reshape the landscape of contemporary sculpture, reaffirming her place in the art world and inspiring new generations of artists. Her works serve as a testament to the power of creativity and the enduring impact of art on society.
