Lilliput is the High Line’s first group art exhibition, and will run through next April. Taking its name from the mythical island in Gulliver’s Travels, Lilliput challenges the conception of public art as grand in scale and schematic, presenting miniature sculptures inserted in unexpected places along the paths of the High Line.
The featured sculptures are the works of six artists from around the world: Berlin-based Austrian artist Oliver Laric; LA-based Italian artist Alessandro Pessoli; Japanese artist Tomoaki Suzuki; UK-based New Zealand artist Francis Upritchard; Brazilian artist Erika Verzutti; and New York-based artist Allyson Vieira.
The small, delightful pieces embrace the miniature, marvelous world created by Jonathan Swift in Gulliver’s Travels:
Although I intend to leave the description of this empire to a particular treatise, yet, in the mean time, I am content to gratify the curious reader with some general ideas. As the common size of the natives is somewhat under six inches high, so there is an exact proportion in all other animals, as well as plants and trees: for instance, the tallest horses and oxen are between four and five inches in height, the sheep an inch and half, more or less: their geese about the bigness of a sparrow, and so the several gradations downwards till you come to the smallest, which to my sight, were almost invisible; but nature has adapted the eyes of the Lilliputians to all objects proper for their view: they see with great exactness, but at no great distance. And, to show the sharpness of their sight towards objects that are near, I have been much pleased with observing a cook pulling a lark, which was not so large as a common fly; and a young girl threading an invisible needle with invisible silk. Their tallest trees are about seven feet high: I mean some of those in the great royal park, the tops whereof I could but just reach with my fist clenched. The other vegetables are in the same proportion; but this I leave to the reader’s imagination.