Sanctuary

Martin Puryear’s Sanctuary is a peculiar sculptural work that demands examination.  The piece towers at around twelve feet creating a variety of experiences at different distances.  The tall and slender base suggests organic limbs.  In contrast, the geometric structure that crowns the form with a synthetic element.  The combination of pine, maple and cherry creates a natural disposition within an artificial form.  This artwork is intriguing if nothing else.

The wheel at the base of the sculpture is reminiscent of ancient technology. The loose geometry of the form sets it apart from the rest of the piece.  It seems to almost accessorize the sculpture.  This makes the piece seem functional, although it is clear that the artist had no intent of this object serving a practical purpose. 

The long bark covered natural branches that make up the general frame of the piece seem to almost embrace the wheel at its base.  This implied grasping might suggest human dependence on mechanical structures.  In this way it may also persuade the viewer to reflect on their own dependence on or distance from machines.  These branches seem to represent legs.  They curl at the bottom in a way that displays a likeness of human feet.  The left branch bends perfectly around 70 degrees and crosses over the right branch.  This mirrors the human form more than any other part of this sculpture.  The two limbs cross exactly as a person would casually cross their legs.

The open-ended cube features the wood in its most synthesized form.  It is composed of several perfectly shaped, sanded, and stained wood.  This variety of prisms forms a perfect cube with two square openings.  The position of the cube at the top of the piece suggests that it may be the head of a lifelike being.  At close range this head like structure invites the viewer to look up toward the figure.  This gives the work a sense of wisdom. 

This piece is clearly meant to give human qualities to wood.  The sculpture is a great exhibition of the medium.  The wood is used in both natural and refined forms and shaped in both geometric and organic orientations.  It demands that the viewer examine their relationship with the natural world and perhaps their specific connection to wooden structures.