These "Entangled Orbits" allow one to view the installations from all perspectives, even from below, an angle usually not seen within the art world. Photo by Austin Dickey.
As you enter the East lobby of the Baltimore Museum of Art, a web of wires run from wall to wall and hang from the ceiling, supporting clusters of iridescent modules that instantly catch each visitor’s eye. “Entangled Orbits” as it’s called, is one of a handful of works by Tomás Saraceno on display at the BMA this spring.
Born in Argentina, Saraceno originally studied architecture, and his knowledge of the field is evident by the balance and sturdiness of his works. Each piece is precisely wired to hang at the perfect angle, all while maintaining complete structural integrity.
His vision for what he calls “cloud cities” is explored within “Entangled Orbits,” a prototype for a potential method of human habitation. He draws his inspiration from the world around him, as exhibited most notably in his piece entitled “Hybrid solitary semi-social SAO 90734.” To create this piece, he took various species of spiders and let them wind their own unique webs, resulting in a medley of free-flowing, yet sturdy fixtures.
Each contemporary art piece was suspended in mid-air, allowing for viewers to observe his art from every angle, including the bottom — a feature not common in the art world given the difficulty of producing such works. The unlimited range of perspectives allows visitors to discover different parts of the artwork as well as form well thought out opinions. Visitors are able to observe every aspect of the piece with no visual interruption from other physical structures such as floors or walls.
Furthermore, the works on display possess minor intricacies that can be overlooked at first glance. Inside the main eye-catching features, there are small, intricate details, provoking thought within the mind of the viewer. Whether the small details are simply for aesthetic pleasure or if they are added by the artist to achieve a certain message, they certainly give the artwork more character. The small figures entangled within the large modules balance out the simplicity of the large bulbs with their complex, yet still geometric, figure.
All of this occurs without a single part touching the ground. For example, in “Zonal Harmonic 2N 110/13. 2017,” Saraceno uses suspension wires as well as long curves to further the visual presence of the work as well as reflect nature as the piece showcases the shape and movement of our solar system.
The exhibit tastefully displays a balance of geometry and nature, with inspiration being drawn from the world around us, while the work’s execution relies on geometric shapes and clever engineering in order to achieve Saraceno’s unique vision and perception. If you are interested in seeing this for yourself, the exhibit is in the Baltimore Museum of Art’s European display until July, 8th, 2018