Glove Trotter Glove Trotter

In Glove Trotter (1991), Cildo Meireles strives with the classic issues of sculpture: volume, weight and gravity. However, these issues unfold into notions of geographical context and of universality. By bringing together spheres from different origins, histories and uses, Cildo underscores what is different, and yet equal, in each of these objects, creating an
almost-musical sculptural language through variations of height. The steel mesh covers the objects and leads us to think of a possible spanning of all bodies in one field, in addition to extending the work’s references. On the one hand it harks back to ancient metal structures used in medieval armor; on the other it confers on the sculpture the futuristic aspect of a lunar landscape.

In Glove Trotter (1991), Cildo Meireles strives with the classic issues of sculpture: volume, weight and gravity. However, these issues unfold into notions of geographical context and of universality. By bringing together spheres from different origins, histories and uses, Cildo underscores what is different, and yet equal, in each of these objects, creating an
almost-musical sculptural language through variations of height. The steel mesh covers the objects and leads us to think of a possible spanning of all bodies in one field, in addition to extending the work’s references. On the one hand it harks back to ancient metal structures used in medieval armor; on the other it confers on the sculpture the futuristic aspect of a lunar landscape.