A Column for Sally Hemings

ARTIST: MARTIN PURYEAR
MEDIUM: CAST IRON, MARBLE
DIMENSIONS: 80 × 15¾ × 15¾ INCHES; 203 × 40 × 40 CM

Martin Puryear’s “A Column for Sally Hemings” was born for his exhibition at the 58th Venice Biennale’s United States Pavilion. Its fluted base mirrored the Doric columns of Thomas Jefferson’s Monticello, where enslaved Sally Hemings, the mother of six of Jefferson’s children, lived. The sculpture’s profound dedication to her memory is evident in the title. Atop the column, a shackled cast-iron stake disrupts the classical perfection, a recurring motif seen in Puryear’s recent works like “Shackled” and “Big Bling.” This powerful piece intertwines history and contemporary symbolism, inviting reflection on the enduring impact of slavery and the resilience of the human spirit.

An elderly man, wearing a face mask and apron, carves a tall, textured sculpture resembling a historical figure in his workshop. Surrounded by tools, a yellow ladder, and red lockers in the well-lit industrial space, he crafts with precision and passion.

Artist Martin Puryear collaborated extensively with the skilled team at Quarra, engaging in a process that spanned multiple stages of the creative process. 

At the outset, Puryear and the Quarra team worked hand-in-hand on the fabrication drawings, meticulously ensuring a flawless translation of the original wood sculpture into stone. Guided by Puryear’s discerning eye and the expertise of the Quarra team they chose a pristine white marble sourced from the quarries of Italy, known as Bianco P. 

Puryear’s visited the Quarra workshop to collaborate directly with the skilled craftsmen. He created custom tools for the craftsmen, empowering them to explore innovative ways of working with the marble.  This hands-on approach not only deepened the bond between the artist and the team but also allowed for an exchange of ideas and techniques that enriched the creative process.

A large yellow front loader is carefully transporting a massive white rectangular block, reminiscent of a column, on its forks. The machine moves across the wet asphalt, with a red pickup and other vehicles parked in the background under a cloudy sky.
A wooden palette with essential woodworking tools, including a chisel, rasp, and carving knife, lies on a concrete floor. Beside it stands a column-like structure with a wavy surface, possibly part of an important woodworking project inspired by Sally Hemings.
Close-up of a white ceramic pumpkin with grooves and a brown stem, standing as prominently as an important column against a blurred background.
In a dimly lit image, a vertical, pleated white object resembling an umbrella or lamp creates an enigmatic aura. Its column-like shape stands out against the dark, indistinct background, enhancing the mysterious atmosphere.

News

An intricate outdoor architectural installation by Citizen-Sculptor Martin Puryear features a large, circular, web-like design with a dark central circle. The stunning structure is set against brick buildings and surrounded by lush greenery, drawing admirers like those mentioned in the NY Times.

NY Times: Martin Puryear, Citizen-Sculptor

On the eve of the Venice Biennale, the artist’s shaping hand frames a view of his troubled, and troubling, homeland

“This moment has caught me being as much a citizen as an artist,” said the sculptor Martin Puryear on an afternoon in his studio in New York’s Hudson River Valley early in April. In two days he would leave for Venice to begin installing a solo exhibition at the 58th Venice Biennale in which he will officially represent the United States. Rising to that responsibility can’t be easy in an American “moment” tense with divisive politics, resurgent racism, and gun violence. Yet anyone who has followed this artist’s 50-year career, knows he is more than up to the task.”
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