Works
- La D.S. is one of Orozco's largest works; a silver Citroën DS was sliced into three pieces lengthwise. The middle section was removed and the two remaining pieces were fastened together, forming an arrow-like car with a width 63.5 cm (25 inches) less than the original. Visitors may sit in the new vehicle and the doors and trunk can be opened, though it was not made to drive.
- The 1994 sound piece, Ligne d'abandon based on the screeching sound of a car wheel, made in collaboration with Manuel Rocha Iturbide at Galerie Chantal Crousel in Paris.
- The 1996 creation, Oval with Pendulum is a small round pocket-less billiards table with a suspended ball.
- Yielding Stone is a large ball of plasticine (modeling clay) that was rolled down city streets in 1992, making impressions in the ball and collecting various debris. The ball ultimately weighed as much as Orozco himself.
- Extension of Reflection (1992) is a photograph of ripples from a bike passing through a puddle. It exemplifies the typical pictures Orozco takes: those that focus on chance and fleeting events.
- Breath on Piano (1993) is another such picture, capturing the fog from Orozco's breathing.
- Mis Manos son mi Corazón (1991) is a set of two photographs of the torso of a bare-chested Orozco. The first depicts him squeezing his hands around a ball of clay; the second shows him unfolding his hands and the resulting heart-shaped clay form is held in front of his chest.
- Horses Running Endlessly is an enlarged chess field of 256 square tiles. Knights of four distinct colors are arranged around the board.
Read more about this topic: Gabriel Orozco
Famous quotes containing the word works:
“It is the art of mankind to polish the world, and every one who works is scrubbing in some part.”
—Henry David Thoreau (1817–1862)
“Separatism of any kind promotes marginalization of those unwilling to grapple with the whole body of knowledge and creative works available to others. This is true of black students who do not want to read works by white writers, of female students of any race who do not want to read books by men, and of white students who only want to read works by white writers.”
—bell hooks (b. 1955)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)