Louise Bourgeois: The Fabric Works
Conscious and Unconscious, 2008White oak, glass and stainless steel vitrine224.8 x 167.6 x 94 cm / 88 1/2 x 66 x 37 in
Untitled, 2008Fabric and fabric collage94.6 x 60.9 x 5 cm / 37 1/4 x 24 x 2 in
Untitled, 2008Fabric83.8 x 99.6 cm / 33 x 39 1/4 in
Untitled, 2007Fabric36.8 x 43.4 cm / 14 1/2 x 17 1/8 in
Untitled, 2007Fabric69.9 x 55.9 cm / 27 1/2 x 22 in
Untitled, 2006Fabric and fabric collage54.6 x 38.7 x 5.1 cm / 21 1/2 x 15 1/4 x 2 in
Untitled, 2007Fabric62.9 x 76.2 cm / 24 3/4 x 30 in
Peaux de lapins, chiffons ferrailles à vendre (detail), 2006Steel, stainless steel, marble, wood, fabric and plexiglass251.4 x 304.8 x 403.8 cm / 99 x 120 x 159 in
‘Peaux de Lapins, Chiffons Ferrailles À Vendre’ (2006), refers through its title to the traditional song of the street peddlers Bourgeois remembered from her childhood, yet its elements are unsettling: flesh-coloured forms hanging within a wire mesh resemble body parts – perhaps breasts or uteri or male genitalia – without being clear precisely which. Such suggestive ambiguity is typical of Bourgeois’s sculptures, enabling one thing to slip into and signify another, disturbing the viewers’ conceptions.
Untitled, 2006Fabric38.7 x 48.6 cm / 15 1/4 x 19 1/8 in
'Crouching Spider’ (2003) Ferocious looking, the spider is also a creature who protects and repairs. Bourgeois explicitly used the spider as a metaphor for her mother who was an expert at spinning and weaving.
Bullet Hole (detail), 1992Steel, glass and wood228.6 x 259.1 x 180.3 cm / 90 x 102 x 71 in
The Cell, ‘Bullet Hole’ (1992), a black half-open, half-closed structure housing mysterious wooden orbs, bears the message ‘Fear makes the world go round’.
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