BEN ALLANOFF SCULPTURE .
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  • Home
  • Contact / Sales
  • CV
  • Bio/Statement
  • New Work
  • Public Art
  • Collaborative Public Art
  • Sogetsu
  • Art In Nature
  • Larger Wire Sculpture
  • Smaller Wire Sculpture
  • Rust Prints and Paintings
  • Jewelry for Giants
  • Assemblage
  • Jewelry
  • Prints
  • Paintings
  • Sculpture + Photography
  • Photography
  • Other Work
BEN ALLANOFF SCULPTURE .

ARC  2019

As the centerpiece of a large scale solo show featuring large and small sculptures and works on canvas and paper,  Arc was a collaborative weaving project in three phases.  First I built a skeletal frame using plant material culled as part of an environmental rehabilitation project.  Then I invited the public to weave sticks into the frame in whatever way they chose. Then I took the piece apart and put it back together in the configuration seen below.  To see the whole project in all its phases click here. 
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THE WEAVING PROJECT   2019

This iteration of The Weaving Project was tailored to meet the needs of a "Night Garden" event at Descanso Gardens in La Canada Flintridge, CA in May 2019.  Invasive Eucalyptus saplings were culled from the Garden's back lot, and members of the public were invited to create a woven sculpture using these and other sticks.  Our approach was, "No instructions, no plan."

BEFORE

DURING: click on the image below to view a two-and-a-half minute long time lapse video

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AFTER:

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​RANCHO LA PUERTA   TECATE, MEXICO   2019

Over the course of three sessions, small groups used materials provided for them to create something with no direction or plan - an experiment in collaborative creativity.  With a focus on process rather than product, the intention was to simply give free reign to intuition, and then to reflect on our individual and collective experiences. 



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​SANDY ISLAND, NH   2014

In August of 2014 I designed and ran an "Art In Nature" program at YMCA Camp Sandy Island, in New Hampshire.  Working with people of all ages, one-on-one and in groups , guidelines were (1) to use only materials found in the local, natural surroundings; (2) to not negatively impact the natural environment; (3) sculptures would be discoverable - unobtrusive, but not too hard to find; and (4)  sculptures would degrade in the elements in a matter of days, weeks, or months.  Most sculptures were spurred by a simple sketch, and all were completed in less than three hours. Some sculptures were made with the intention of being burned. One sculpture particularly lent itself to nighttime photography (lit only by a single flashlight) and, later, some digital manipulation.