Capital is a sculpture made of medium density, material composed of medium-density wood fiber panels.

The sculpture is formed by eight elements assembled together, with the two ending ones with a semi-cylindrical shape, while others have a parallelepiped shape. Each element is made of a structure in plywood lined with medium density panels. The upper and the lower margins of each element have moldings. The visible surface is smooth and homogeneous, in a beige-ocher color. At the center there are only the two elements of semi-cylindrical shape. Grenville Davey mainly uses materials already tested, or that garantuee a duration in time. Capital can remember a table but also a model of an urban landscape, or a loaf of bread, a curved side and one straight.

Excerpts from the technical interview to Grenville Davey:

“There are common materials in any work that I produce, works that share the same formal guidelines. It is a way to communicate something through the installation. Often this relationship is only suggested but the audience can get it, the law in the workplace and in the authoritativeness of the sculptures, their strong physical presence reinforces this impression and connection. It is a way of making your life difficult! “

“My works are unique, but there are shared details. The common scale is the human being, the surface is always inert, industrial production. I do a lot of things on my own and I ask for help when I need engineers and carpenters, building with them a close dialogue. I have a couple of people, technicians I have a long working relationship with, this is important as we understand each another. “

“I had one or two works damaged beyond repair by an irresponsible shipping! You should always try to make sense of the distribution when transposrting heavy loads, it should avoid air bubbles or store material on material in transit. In one occasion a job has been commented on by insurers as more expensive to repair than to have it done again from the beginning! “

“The work is not like a machine that can be repaired and repainted, there is a tension in the material that is inherent to the original design.”

The interview was carried out within the project  Interview with art, by Benedetta Bodo Albaretto in collaboration with the Center of Conservation and Restoration of Venaria Reale and the Fondazione Sandretto Re Rebaudengo, Turin.