The series Drawings for Sculptures of Buildings began in 2006. The artist was searching for a material that could reference the highly polished aluminum of previous works, and happened upon silvered Mylar. The Mylar worked well in simulating a mirror-polished surface for site studies. As Vanderlip continued working with the Mylar, the content of the pieces changed. She began infusing her work with a personal source, her own father’s architectural plans from the 1960s and 70s. Vanderlip redraws with graphite, the original renderings; shifting their scale, while incorporating the Mylar material. And as their title suggests, she ultimately plans to translate these works into sculptures.
The work becomes a visual reminder of her father; having traced the same lines that her father drew. The memory of the past is overlaid with present experience. In the Mylar, one can see oneself appear and disappear much like memory. Since reflection is not as accurate in the material as it would be in a mirror, there is a subtle blurring of reflection. Viewers inhabit the drawings of buildings with their own cloudy images, seeing themselves in a space that physically does not exist. When light is directly fixed on the Mylar, it becomes displaced, bouncing onto the floor, wall or viewer.
After exclusively referencing her father’s buildings for many years, Vanderlip expanded the series to include other personal spaces that resonate with special meaning. Some of these are spaces where she lived and some are spaces she imagines her father would have liked. The series is ongoing and now includes over 50 works both small and large.