Artborne Magazine November 2016 - Page 27

up in the vicious cycle of working for a living that you forget to look. In her art, she uses a beautiful combination of vibrant and pastel colors and natural forms juxtaposed with linear perspectives. In this way, she addresses the delicate balance between nature and culture. “Linear perspective is not something that happens naturally,” she explains. Linear perspective can only be found in landscapes that contain something manmade, like roads or buildings; it is created by urbanization. organic forms. Her colorful “cairns” seem impossibly held up when viewed straight on, but Hargrove reveals her secret and allows the viewer to see the backside of these sculptures, which are propped up with simple supports. Acting almost as parts of a set, the pieces within the series are arranged in such a way so that “the pieces can have a conversation with each other.” they also carry heavy social meanings. These constructed sculptures, similar to the ones created in Absentia, will be set in the most undesirable corners of the city. Like traditional Scottish cairns, these geometric stone mounds act as miniature landmarks of displacement. With this work, Hargrove hopes to bring some joy to the individuals living on the streets downtown, while drawing attention to areas that would normally go unseen. Currently, Hargrove is working on pieces for Art in Odd Places. The theme of this year’s Cairns frequently appear in Hargrove’s artHargrove’s series Absentia is a graphic exam- exhibition, which spans downtown Orlando, work—drawings, paintings, sculptures, and ple of linear, geometric shapes combined with is “Play.” Her pieces are playful in nature, but photographs all feature these iconic Scottish Facade 5, acrylic on panel Orlando’s Art Scene, v. 1.5 26