Nicole Wermers on Anne Truitt’s Layered Sculptures

‘Truitt’s sculptures add depth and dimension to minimalist shapes and monochrome surfaces’

Anne Truitt, Hardcastle, 1962

Anne Truitt, Hardcastle, 1962, wood and acrylic paint, 138 x 38 x 18 cm. Courtesy: The Estate of Anne Truitt/Bridgeman



I first heard of Anne Truitt when the gallerist Carol Greene mentioned her while looking at my early ashtray sculptures during a studio visit in 2001. Truitt’s sculptures add depth and dimension to minimalist shapes and monochrome surfaces through countless layers of paint that are sanded down in-between coats. Her Hardcastle evokes a strong physical response. Two red wooden bars stretch high while leaning on, supporting or maybe penetrating a large black panel that looks like the rear of something else. It looks far too deliberate not to have a function. I love the title as well; I always thought of it as the opposite of a bouncy castle. Years later, I read that Hardcastle is based on Truitt’s memories of a car accident.

Published in Frieze Masters, issue 7, 2018, with the title ‘Artist's Artists’.

Nicole Wermers lives in London, UK. This year, she had a survey show at Kunstverein Hamburg, Germany, which was accompanied by a major new monograph. In October, her work will be shown at Herald St, London, alongside that of her compatriot Markus Amm. 

Issue 7

First published in Issue 7

September 2018

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