Courtesy of Royale Projects
ARTIST'S THOUGHTS ON THIS ARTWORK:
The Gold Flood pieces that idea is about 20 years old now, I think I first had that idea in maybe 1998, and then the technology to be able to make it in a way that it wasn't extraordinarily expensive was only developed in around 2009, which is when I made the first edition of the gold flood pieces.
So, um, the way that that idea came about was just I was like a kid, basically. I was a 20 year old kid and I wanted to make something that was, um, gratuitously opulent in every way, but in a way that had sort of feminine violence to it in its form and in its gesture. But it was also very representative of global monetary systems. And those are systems that still do concern me in my current work as well.
Seemingly oozing from behind the gallery’s baseboards, the Gold Flood sculptures located in the corner of this installation are emblematic of the artist’s interest in sculptural materiality.
In contrast to the monumental, upright bronze sculptures that have marked art histories for centuries, particularly in large European cities, Lofgren’s sculptures lay placidly on the floor, appearing as thick spills of viscous liquid.
Their perfectly shiny surfaces morph into shimmery reflections upon the blank white gallery walls. The gold finish is seductive, though of course the sculptures are entirely unreal, having been fabricated from wood and automotive paint.
With their simultaneously appealing and surprising presence, Lofgren’s Gold Floods question the pursuit of wealth and the production of systems of value.