Boston
Leslie Wilcox’s signature material has long been metal screening, the ordinary kind used to cover windows in summer. She built her career on quasi-figurative works made out of it, empty dresses and the like, generally suggesting people but not in any literal way. In 2011, however, she began to add wood to her repertory. Wilcox has a friend who owns a small saw mill in Maine, and she worked there, collecting scraps. She rubbed charcoal, graphite, talc, and stain into the wood to emphasize its texture. She added fireplace screening. Some of the pieces were immensely tall and installed so that they listed away from the wall, toward the viewer, in a menacing fashion. Wilcox called her 2011 shLeslie Wilcox’s signature material has long been metal screening, the ordinary kind used to cover windows in summer. She built her career on quasi-figurative works made out of it, empty dresses and the like, generally suggesting people but not in any literal way. In 2011, however, she began to add wood to her repertory. Wilcox has a friend who owns a small saw mill in Maine, and she worked there, collecting scraps. She rubbed charcoal, graphite, talc, and stain into the wood to emphasize its texture. She added fireplace screening. Some of the pieces were immensely tall…see the entire review in the print version of March’s Sculpture magazine.
