In contrast to Théodore Géricault’s painting The Raft of the Medusa (1819), which might be considered a compositional model for the piece here, it isn’t human lives that the raft appears to be saving, but all sorts of ordinary, commonplace things. The new title of The Raft shifted the contextualisation of the work: its gloomy symbolism transforming into a more generalised picture of hope and destruction – a place of refuge over menacing waters (though the encroaching wild animals continue to pose a danger). However, it was during the exhibition ‘Die Sonne bricht sich in den oberen Fenstern’ (‘Sunlight breaks in the upper windows’), organised by Martin Kippenberger in Cologne in 1982, that The Raft took on its current title and present, ultimate form: the installation, which is carved entirely out of polyurethane, consists of a platform of loosely assembled planks upon which a number of mostly banal objects including canisters, barrels, and wooden crates, are piled. A gloomy and mundane collection of objects, the original work was realised in a time where science fiction cinema conjured a world of destruction that could also be felt in the real world, thanks to the tense social climate of the Cold War, the threat of nuclear power, and environmental problems. Its predecessor, Mad Max (1982), made shortly after the film of the same name was released in 1981, consisted of a number of polyurethane parts mimicking civilisational detritus and various types of rubbish.
The Raft (1982/83) hasn’t always had its present form. This choice of material situates the installation in the realm of the workshop and labour, a subject the artists explored from the outset of their work together. Polyurethane was originally used mostly in film productions, where it was employed as a component in props and scenery construction. The work is made entirely of polyurethane a material Fischli Weiss first began using for their sculptures in the early 1980s. Then, I covered the fireplace surround with them as well.At the centre of this exhibition is the large-format sculptural installation The Raft.
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I had just refinished the floors, plus I was planning to paint the walls later, so I covered my entire living room floor with plastic dropcloths.
This is, by far, the most time consuming part.
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How to Paint a Fireplace Insert Step 1: Prep the Room I later painted the tile too, but for that I opted to use brush-on paint, largely because I didn’t want a high gloss finish. This high heat spray paint by Rustoleum was the perfect thing. Because I was painting metal (aka, something that normal paint struggles to stick to,) I opted for spray paint instead of brush-on paint. There are a couple of different high heat paints you can buy at the local home improvement store. Despite the fact I never use my fireplace, there’s always the possibility the next owner will, so I wanted to make sure I used paint that could handle it. If you click and make a purchase, I may receive compensation (at no additional cost to you.) Planning Note: This blog contains affiliate links. And while replacing the brass insert would be a hassle, spray painting the brass trim would be easy. The brass was what was dating my fireplace. So whitewashing was out.īut I eventually figured it out.
Throwing a DIY whitewash onto an original feature of a 100 year old house just didn’t seem right, plus I wasn’t totally sure I’d love the result. What’s not to like? Did I secretly want whitewashed brick? It’s all the rage on Pinterest these days.īut here’s the thing: my fireplace is 100 years old. Dated, right? But when I first looked at it, I couldn’t figure out why I didn’t like it.
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