Diana on Shooting Bench 2018

Curator: Matthew Barney's "Diana on Shooting Bench," crafted in 2018, strikes a curious pose, doesn’t it? A complex assembly of bronze and 3D-printed elements, forming what appears to be both functional and ceremonial apparatus. Editor: It has an undeniably sterile yet ornate feel to it, like a deconstructed scientific instrument made precious by its warm metallic hue. The balance between geometric structure and organic forms really catches the eye. Curator: Absolutely. This work draws on ideas of precision, but within it is also an incredible consideration for bronze as a medium. Given Barney's career-long interest in process and form, it is fascinating to consider how he treats metallurgy, fabrication, and new technologies of making. It speaks to a convergence of craftsmanship and advanced industrial techniques. Editor: I agree, but the real focus here is on the form itself. The tripod structure, the elevated platform, the intricate details of the “shooting bench” all create a very distinct visual language. It’s hard not to see echoes of ritualistic objects in the composition. Curator: Well, considering Diana's connection to nature, it wouldn’t surprise me to discover that this piece emerged from exploration of manufacturing in the natural resources industries, a study on resource extraction or distribution networks perhaps. Editor: While the title alludes to Diana, the Roman goddess of the hunt, the iconography seems almost obscured, distilled into purely structural terms. The geometry suggests precision, almost an unyielding formality. This is something I experience as very powerful and present, in terms of aesthetic properties and forms. Curator: Precisely, this speaks volumes about Barney’s fascination with recontextualizing myth. It serves to elevate material, technology, and the entire production process in the broader narrative of modern myth-making, almost to godlike importance. Editor: Ultimately, the sculpture captivates through its formal language, leaving an enduring impression long after the immediate encounter, raising a complex dynamic of interpretation that moves towards myth. Curator: Indeed, and considering the artist’s wider scope, this serves as a profound material commentary, questioning the intersection between production methods and classical storytelling.