In her work Margot Garutti prefers expressive materials, combined in an eloquent dialogue. She sets feathers next to steel, oxidized iron next to brushes, lead next to wood, organics to anorganics, naturals to synthetics, softness to hardness, smoothness and roughness confront each other.

Yet, despite the contrasts, the varied materials are always in balance. The lightness and the vitality of feathers (duck and goose) connect to the severity of steel elements, the shining surfaces of metal intensify the contrast of the living structure of feathers. Both materials gain a new expressive power through their combination. Out of seeming contrast results a bipolarity of synthesis.

Margot’s introduction to art was during her college years in Paris where she studied at the Ecole du Louvre. While there, she married Athos Garutti, a painter, sculptor, and stage designer. Early in her career, she participated in art and architecture competitions and realized large sculptures and fountains in stone and metal in several cities. Sculpture always meant large works in open environments to her.

She continued to produce stimulating art during her travels in France, Italy, Greece, Turkey and Asia in the 1970s.

The uniqueness of Margot Garutti’s work is based on the individual, spiritual and emotional experiences of her surroundings flowing into her sculptures and objects. Her world is not static, but a continual process of growth and decay. This is the foundation of her preference for cyclic working groups in which materials and/or objects metamorphose, becoming poetry. A series of matrices enclosing symbolic objects of social constraint, such as a starched shirt covered with medals, a corset, a pair of scissors, or an out of balance scale are representative of this concept.

A fine recent experimental project is her annual cycle of 12 wall-mounted objects representing the months, made of shining or rusty metal, feathers, brushes, colored rubber balls, drinking straws and water bottles. These throw-away materials transcend their inferior character, becoming objects of art.