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Tag Archives: Edwin Abbott Abbott

Life as a Veneer

4 May

In retrospect, at a selection of exhibitions in London over the winter a number of works emerged which use veneers and discuss thin surfaces.  At the end of 2012 Henrik Schrat exhibited a series of two dimensional works at IMT Gallery made in the marquetry tradition from tessellated pieces of different woods that form scenes for a comic book, probably with reference to Roy Lichtenstein’s paintings of scenes from comic books such as All-American Men of War, but carried out in a totally different manner.  This pair have similarly transformed the disposable paper comic into something more substantial, created for longevity and monumentalising what some may describe as a trivial entertainment media, yet solid wooden board may have a longer life expectancy than a canvas.  Schrat’s Space Odyssee series (2009) makes a number of references to modernist architecture, with Space Vessel resembling Buckminster Fuller’s Geodesic Dome and Falling Water featuring a Frank Lloyd Wright house, whilst documenting the daily life of a Cyloptic science fiction character like a series of snapshot photographs that could be posted on the character’s social networking profile.

Space Vessel (2009) by Henrik Schrat

Space Vessel (2009) by Henrik Schrat

Helen Marten’s exhibition at Chisenhale Gallery included a row of low works, each with a different wooden finished, which resemble temporary covers placed over open man holes in pavement or trailing cables somewhere lots will be required like a temporary concert site.  Titled Falling very down (low pH chemist) (2012) these were ramped on two opposite sides as if to aid wheelchair access these works appear to invite the viewer to walk on them like Carl Andre‘s floors and leave the patina of their movement on the polished surfaces, yet they then had a collection of objects piled on them, like the personal effects upon a series of individuals’ bodies or a collection of detritus disposed of by a being, including a sock and a Starbucks cup of iced coffee, whilst skewed and edited wrappers invite you to consider what you consume.

Falling very down (low pH chemist) (2012)Helen Marten, Plank Salad, exhibition view, Chisenhale Gallery, 2012. Photo: Andy Keate. Commissioned by Chisenhale Gallery.

Falling very down (low pH chemist) (2012)Helen Marten, Plank Salad, exhibition view, Chisenhale Gallery, 2012. Photo: Andy Keate. Commissioned by Chisenhale Gallery.

Art13 Art Fair commissioned Peter Lemmens, also seen on the Dam Gallery stand there, to create a series of essentially plinths, entitled Proxy (2013), which appeared to be covered in a variety of wood and marble laminates as might be used on kitchen worktops and cupboards; practical elements of modernist architectural design, like the structures depicted in Schrat’s work.  Lemmens invites us to look at that which the contemporary art viewer tends to ignore, yet most continue to walk by regardless.  Indeed these innate objects seem to be typified by private view visitors using them to stand empty glasses on.  These works were juxtaposed in odd combinations, clearly defining the apparent pointlessness of the trompe l’oeil pretence of using patterned laminate, making their seemingly basic materials obvious.  However, in fact only part of each work is a trompe l’oeil, a self-adhesive veneer applied to a solid block of an opposing material, for example a block of marble has one or more surfaces covered in a wood effect plastic, confusing the brain as to what material it really is.

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Artists Making a Mark with their Bodies

19 May

Following on from the article The Gallery as a Dance Hall, it appears there is also a resurging interest in performative mark making.  In Trisha Brown‘s Walking on the Walls a group of performers climb into suits harnessed to girders suspended from the gallery balcony, which act like the track of a rollercoaster.  This enables them to walk horizontally along the gallery wall in a performance that at times becomes like a cat’s cradle as they approach each other and seem to pass on momentum.  Essentially fixed on a straight line, the performers are generally only able to see and approach their neighbours, as described by Edwin A. Abbott in Flatland: A Romance of Many Dimensions, however they do occasionally cross each other’s path in a slightly awkward fashion akin to when a cat’s cradle gets tied up.

Trisha Brown - Walking on the Walls. Barbican Art Gallery, 2011. Photograph by Felix Clay

The performers leave slight marks and traces of their performance in the form of footprints on the white gallery walls.  Whilst their impact is minimal, this could be read in a painterly fashion outside the performance.  What remains is the essence of movement, like the ghostly remains of fossilised dinosaur footprints in the rock.  As these footprints will clearly not last that long, being painted over for the next exhibition, if the wall hasn’t already been re-coated, it consequently  draws allusion with the work of Richard Long.  In his work A Line Made By Walking (1967) Long created a visible mark on the landscape through movement, but similarly the grass will have soon grown back.

Meanwhile, Brown’s Homemade (1966) resembles Stating the Real Sublime by Rosa Barba, mentioned in the article Still, through its use of movement of a film projector.  Where Barba’s work is sculptural in creating movement of a projection by the rotation of the film in suspension, Brown wore a film projector like a backpack, projecting a film of her dancing on varying surfaces of the theatre as she repeats the filmed performance in person.

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