As architecture trends towards revealing the inherent origin of materials and their processes, this modern artist defies expectation by doing exactly the opposite. Meet Jeff Koons, an artist from New York who makes granite look like plastic, plaster look like metal, and metal look like a stretched balloon.
In one avenue of his work, Jeff Koons replicates inflatable objects. What may appear as cheap plastic decorations are actually made from solid, heavy materials such as granite and plaster. Sculpting the dense media into objects that appear as light at balloons, Jeff plays on your predetermined notions of materiality. In his dissociative works, he substitutes surface in order to block out meaning; Koons keeps the artistic discourse and interpretation to a minimum, letting the consumption of his pieces tell the story.
“One of the main reasons that I work with inflatables is that the aspect of inside/outside—if you look at an inflatable and you think about it, it seems very empty inside,” Koons tells me. “Oh, it’s air in there, so it’s empty. But that moment that your exterior space around you feels denser, it gives you more of a sense of confidence in the world. You think about your own inside. It’s denser. It’s blood, it’s guts, it’s tissue. And so if you’re not around that concept of the inflatable, it’s more of a void out there. Okay? It’s denser inside here than outside. It’s vacuums. But when you’re experiencing an inflatable, for that time, it’s vacuous inside that object and it’s empty inside.” (source: Vulture)
[Balloon animals made with high chromium stainless steel with transparent color coating]
["Gorilla" made with black granite]
[“Hulk (Wheelbarrow)” made with polychromed bronze]
With an elite circle of art aficionados, Koons’ work has a loyal following amongst collectors who can afford the often seven-digit price tags. As his pieces possess a materialistic wonderment that screams of Pop art and an editorial on the culture of commodity, it’s not surprising that Koons has carved out a distinct space “at the top of” (or as some may argue, above) the art market. Though we sharply disagree with his methodology of rejecting the inherent nature of materials, we salute his strict adherence to it!