Showing posts with label Found Objects. Show all posts
Showing posts with label Found Objects. Show all posts

Saturday, 9 January 2021

Adam Laerkesen

03 January - 06 February     Drunk on the Moon

Adam Laerkesen’s arresting installation reads like a still life. It is set out in a clear theatrical manner that seems to me, allegorical. And Adam agrees, inviting the obvious question – so what’s the allegory?  To which he replies, “I like to leave that a bit open-ended.”

“There’s a drunken figure on the left,” he explains - I can see it sprawled across a lectern, drunk on prayer and wine,  “and a female voice, among the woods under a full moon” he continues. And yes there is a malevolence lurking for me in the form of a classically draped ironing board she-wolf, tensed and ready to pounce. Ridden by a cloven-footed tree ladder I wonder?  “No” advises Adam, “it’s just a hoof that I carved at the end of a piece of wood as a conclusion”. 

After a while our conversation turned to the mythological figures Bob Dylan refers to in his songs. Which left me wondering, when later that night I found myself listening to “Isis” on Dylan’s, Desire album.


“I married Isis on the fifth day of May – but could not hold on to her very long – so I cut off my hair and rode straight away – for the wild unknown country where I could not go wrong…Isis, oh Isis, you mystical child – what drives me to you is what drives me insane – I still can remember the way that you smiled - on the fifth day of May in the drizzling rain.”

Google the song’s meaning and you will read – “Isis is a mystery, and the story makes no real sense – it is just a set of irrational images without the sequence that we so crave. And that’s why it works. It tempts you to think there is a meaningful sequence, but as you try to grab it, it walks away.”

Or as a friend of mine pointed out recently, the trick to meaning-fullness is in the gaps you leave between things for the viewer’s mind to fill in later. It keeps the work alive and assures its relevance to an audience. As a method it took Dylan from speed freak rock star to Nobel Laureate and it seems to work for Adam Laerkesen as well. 

Tony Twigg



Tuesday, 3 December 2019

Sandra Winkworth

24 November - 28 December      I Give To You The Palaces of Montezuma

Link to artist's website







Sandra Winkworth’s piece is made from detritus. But more correctly it is made from litter and imagination. 

Her day begins “with morning walks spotting birds, inspecting home garden fronts and what remains after busy days and nights in the city.” And every Sunday since April those walks have been through Redfern. There was “no planed journey” instead, a “turn from laneway to road side to crossing” into memories that “revisited the streets” of  “skatey/mod/rocknroll days…the 80’s”, ”the gentrified to the old school” collecting “mementos with hawk-eyed intent”. Sandra Winkworth picked up quotations from our streets then glued them into an essay with her imagination that speaks of now, memory and art.

The gems assembled into her opal like offering are grazed by speed. Flattened to perfection by the uncaring pragmatism of progress that surges along our streets. And forsaken, the once essential no longer required, abandoned beside an urgent road carelessly heading towards tomorrows dim recollection. These things are held for a moment in Sandra’s imagination, turned this way or that
then cross-referenced somehow into something with a pang of emotion that feels like places I like a lot, here and art.

So delicately and thoughtfully crafted is this piece that we need to be reminded of the time it spent on the road, as a kind of refugee from our material existence. Now with a revised citizenship of the art world it’s collective emotive power far exceeds the feeling previously accorded to any single item. Is that down to the artist’s hand - her orchestration or is she simply the conductor of an emotive coir?

This is the voice of voices, it's the Palace of Montezuma, Aztec Emperor, “he who is angry in a noble way”, it is a cloud but it is far from a miasma, it is our hope.


- Tony Twigg






Sunday, 12 February 2017

Marlene Sarroff

8 February - 11 March      You Get What You Choose : 365 Day Instagram Project





Marlene Sarroff. You Get What You Choose, 2016-2017. Assemblages of Found Objects.






These works are a small collection of a much larger collection of 365 works, the product of a disciplined daily practice of making an artwork, photographing it and posting it on Instagram. The work is a combination of Social Media, Technology, and Art.




Marlene Sarroff. You Get What You Choose. 2017. Assemblages of found objects




The work is made from a diverse range of found things. It is an investigation of the ordinary from the perspective of the "found" be it the rejected, the disposable, the temporary or forgotten objects that are intrinsically part of this creative process. All discovered things create vital possibilities that are transcended through a daily practice of living the everyday aesthetically.

Most important is allowing spontaneity, freedom, chance encounters and the unexpected as well as  meeting the demands  of a daily practice of  being vitally alert. What transpires in making the work is  accidentally miraculous, an engagement with a new kind of anthropology, an immersion in the pleasures of popular culture, or a meditation on what happens unexpectedly. 

It simply is a means of seeing everyday objects in a new light. As Henri Lefebvre, a theorist on this subject, notes the "concept of everydayness (can) reveal the extraordinary in the ordinary.  At a philosophical level the celebration of the everyday has oppositional and dissident overtones, offering a voice to the silenced and proposing possibilities for change. 

Instagram, is an important component in the creation of this project. Posting the work daily creates another aspect of showing  art  by presenting the Project to an  audience that can see and follow as the Project evolves over 365 Days.  Each day is different and presents a spontaneous creation pertaining to the day of the artist.Instagram is contributing to the Project as the works will be installed in the gallery space (future)  in the same order as posted on Instagram.  The idea of having an instant viewing audience daily is inspirational for the artist and propels the work to continually be created and shared. The artist is assessing the overall look as the work evolves. Each day photographing the work and to ensure a good image, prior to posting is paramount.


Marlene Sarroff






Beginning of Marlene Sarroff's installation of 'You Get What You Choose'.      
Marlene's thoughts on her process in assemblages of found objects made an impression on me in how, through art practice, aesthetics can be used as a vehicle for mindful living in our daily lives. Through finding the manufactured discards and mindful personal response,  creative process takes place using simple assembling of disparate found pieces.   This body of work follows a strict parameter as described in Marlene's text.  In this process, this project has humbly and deeply encapsulated art practice as an ethos for life lived in a mindful way.

Visually, the artworks exemplify art making incorporating materials with trace of the 'intelligence of manufacturing' with technologies of our time.  It is important for Marlene that the found materials are not 'interfered with'.  The integrity of the found materials is to be kept intact as much as possible. The outcome and process are dictated by the materials' characteristics. This in itself is a way of relating with respect in one's day to day encounters, being with another being or our environment.  

Our environment is mostly surrounded with manufactured materials.  The discards appearing in Marlene's works are office stationery, foam materials for packaging consumer products, advertising off cuts, rubber mats, factory discards.  The emphasis of creativity and making of this body of artwork is shifted from the making to the aesthetic 'response' and deep appreciation of the materials followed with visual recognition of creative possibilities to repurpose the found pieces into a artworks.  The result is a 'mash' of the 'intelligence of manufacturing' of our time and Marlene's aesthetic judgments.   On that basis, 'of the time' is intrinsic in the expressions of these works. 





The works also lend themselves to reflect the excess of the society we live in, a reading suggested by Marlene's title 'You Choose What You Get'. The title suggests abundance of materials.  There are choices and the certainty of  getting what one chooses is never an issue.  All that is needed is a decision.  This is not unlike the shopping experience in an affluent, capitalist society, where the options of getting a product serving the same purpose are plentiful. Good judgement and decision are all it takes to take one home. 


 


 
As the industrial wastes are re-purposed for the desired aesthetic experience, Marlene has assembled endless permutations of these to be had.  The artworks are displayed in the lit Slot window, itself a repurposed shop window on Botany Road.  They promise a delightful experience with its spendour of colours, textures and shapes-  a vision of Utopia of materiality in a lightbox.  The viewers get to choose the aesthetic experience brought to them through 'a work a day' from Marlene's  studio.


Anie Nheu 

February 2017



Marlene Sarroff. You Get What You Choose, 2016-2017.