CHICAGO — Viewing a sculpture by Diane Simpson offers a unique experience unlike any other. Chicago residents can witness this firsthand at the Art Institute of Chicago’s rooftop terrace, showcasing her first three outdoor sculptures, and at the Corbett vs. Dempsey gallery, which includes two of her classic works in a group exhibition.
Traditionally, sculptures like those by Bernini, Rodin, or Charles Ray are experienced in a coherent three-dimensional form. However, Simpson’s creations defy this norm. Her sculptures appear differently from various angles—sometimes deep, sometimes flat. This dissonance arises from her process, which begins with a three-dimensional inspiration, such as samurai armor or bonnets, and involves drafting aspects using isometric projection. This method, common in engineering and historical scrolls, preserves parallel lines and angles, resulting in sculptures that challenge real-world perception.
Born in 1935 in Joliet, near Chicago, Simpson’s career spans decades. Her recent achievements include her first Whitney Biennial participation, retrospectives, and international exhibitions. Despite a delayed start due to family commitments, her persistence has led to significant milestones. Her early artistic experiments with corrugated cardboard in her Wilmette home set the stage for her first gallery show in 1979 at Artemisia, with many pieces resurfacing in a solo exhibition in 2020 at Wesleyan University.
Simpson’s artistic process involves multi-year series, each beginning with a thematic inspiration. She translates initial sketches into three-dimensional works using various materials like linoleum, wood, and copper tubing, often unrelated to the original idea. Her inventive construction techniques include clever joints and curved surfaces, resulting in intricate sculptures. Two such works, “Thinly Veiled” (1985) and “Neckline – extended” (2011), are currently on display at Corbett vs. Dempsey, showcasing her unique style.
Simpson’s latest exhibit, Good for Future, features three new commissions on the Art Institute’s rooftop. These pieces, in shades of periwinkle, sky blue, and olive, continue her tradition of challenging forms, now created with the aid of an assistant due to the heavy materials. Positioned against Chicago’s skyline, the sculptures evoke various forms, from architectural influences to imaginative shapes, marking them as fitting for the future.
