blend and swirl into a whirlpool of chaos. MacDonald alters the pho-
tographs digitally to heighten the drama and magnitude of these tragic
landscapes. It is an observation of the disposable nature of human ex-
istence and technology’s role in documenting this terrifying fall from
grace. MacDonald explains, “Although these created sets are from my
imagination, the nightmare these photographs represent is not far from
the images I see on the nightly news or in the movies.”
gible begins to fade. The viewer craves information—the details, the
cause, the reasons why—and he or she is rewarded.
The Wired Up series consists of seven characters that have such vi-
brant personalities, one might think they are alive. They are assembled
from seemingly random pieces and parts in such a thoughtful way that
the result is not simply humor or whimsy, but downright joy. These
inanimate objects have the power to reaffi rm the viewer’s humanness
How does one reconcile this fascination with tragedy? Is it even in the best possible way. While MacDonald used the photographs of
possible?
the Recipes for Disaster series to “display the fragile and transitory
nature of existence” through destruction and devastation, the Wired
Reconciliation is possible and Forrest MacDonald has found a way. Up sculptures illustrate the beauty of second chances and new life
With his Wired Up sculpture series, he steps away from the camera through repurposing and creation.
and lets the sculptures speak for themselves. Instead of acting as props
decorating a set, the sculptures take the leading roles and seem to Linda looks like the distant relative of a Giacometti sculpture, with
communicate directly with the viewer on the artist’s behalf. Two di- rainbow-colored wires that shoot out from her arms like rainbow
mensions become three, and the barrier between tangible and intan- streamers at a child’s birthday party. The wires extend into long ten-
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