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FRANK LLOYD
WRIGHT:
LIGHT-SCREENS |
| The Boca Raton
Museum Of Art Presents
The Architect’s Stained-Glass Windows From
The Darwin D. Martin House |
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back to its origins; it speaks to
various forces in nature. It has subtlety, sensibility
and malleability. And when it cools, it captures the
moment.”
Paley selected steel as his medium of choice some
30 years ago because it allowed him the opportunity
to produce works on a much larger scale.
“When
dealing with objects that you place on the floor or
on a table, their placement in the room becomes important
because the space is confined,” Paley says.
“With larger works, the context or site has
to deal with the architectural space — so the
forms of the sculpture have to engage, create a synergy
with the environment.”
Paley, who is known for his seamless integration of
art and architecture, creates sculptures that pierce
the cityscape with their daring angles, undulating
curves and sweeping lines. “They offer a visual,
sensual experience,” he says.
From his first commission for the Smithsonian Institution
— portal gates for the Renwick Gallery —
to an exterior sculpture for Bausch & Lomb’s
corporate headquarters and portal gates for the New
York State Senate Chambers, Paley has completed more
than 40 commissions for public and private clients
worldwide.
Currently, he’s working on one of the most monumental
projects of his career — a seven-story sculpture,
titled “Sentinel,” for the Rochester Institute
of Technology in New York, which will be dedicated
in October 2003.
In addition to sculptures and gates, Paley designs
screens, furniture, lighting and other decorative
objects. Upon graduating from Tyler School of Art
at Temple University in Philadelphia with bachelor’s
and master’s degrees in fine art, he began designing
jewelry. Innovative and controversial at times, his
designs established him as a nationally recognized
metal artist.
Paley’s desire to expand his experience and
the scope of his work led to his discovery of steel
and his love of sculpting. “The tangible nature
of form is attractive to me,” Paley says. “As
three-dimensional people, we walk around, respond
to gravity, cast a shadow. Sculpture occupies that
same space, so there’s a real dialogue with
that.”
Staying true to metal, Paley allows the natural patina
to communicate its own language. On rare occasion,
he paints his sculptures “if it’s appropriate,”
he says. “Color can articulate and elicit an
emotion.”
In recognition of his accomplishments, Paley received
a Lifetime Achievement Award from the American Institute
of Architects for the dialogue of art and architecture.
More than 28 museums house his works, including the
Metropolitan Museum of Art in New York; the White
House and the Smithsonian American Art Museum’s
Renwick Gallery in Washington, D.C.; and the Victoria
& Albert Museum in London.
In Florida, Paley’s work has been exhibited
at the Polk Museum of Art in Lakeland and the Harn
Museum of Art in Gainesville. This past March, Habatat
Galleries in The Gallery Center in Boca Raton showed
his work.
His Florida-based clients include the Hyatt Grand
Cypress Hotel in Orlando; American Bankers Insurance
Group in Miami; the Naples Museum of Art; the Philharmonic
Building in Naples; Florida State University in Tallahassee;
and Florida Gulf Coast University in Fort Myers.
For more information on Paley’s work, call Habatat
Galleries at 561/241-4544 or Paley Studios, Ltd. at
585/232-5260. |
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