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Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Abie), 1992
Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Abie), 1992
Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Abie), 1992
Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Abie), 1992
Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Abie), 1992
Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Abie), 1992

Edoardo Villa South African/Italian, 1915-2011

Untitled (Abie), 1992
Steel
92.5 x 41 x 35.5 cm
Edition of 9 (#6/9)
Signed, dated and numbered
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Further images

  • (View a larger image of thumbnail 1 ) Edoardo Villa, Untitled (Abie), 1992
  • (View a larger image of thumbnail 2 ) Edoardo Villa, Untitled (Abie), 1992
  • (View a larger image of thumbnail 3 ) Edoardo Villa, Untitled (Abie), 1992
  • (View a larger image of thumbnail 4 ) Edoardo Villa, Untitled (Abie), 1992
  • (View a larger image of thumbnail 5 ) Edoardo Villa, Untitled (Abie), 1992
  • (View a larger image of thumbnail 6 ) Edoardo Villa, Untitled (Abie), 1992
Abie comes from a group of editioned steel works marketed internationally in 1993, when many South African collectors still associated sculpture editions principally with cast bronze. Fabricated steel operates differently...
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Abie comes from a group of editioned steel works marketed internationally in 1993, when many South African collectors still associated sculpture editions principally with cast bronze. Fabricated steel operates differently – each example has to be cut, aligned and welded rather than drawn from a mould. The work therefore sits between repeatable design and individual labour. Its familiar, name-like title is also meaningful. Villa refused to let industrial material become anonymous, giving a numbered construction the status of a social presence rather than a machine part.

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