Still Life with Nautilus and Grapes (or “a relatively neutral basis for formal experiment”*)*according to TATE Modern’s internet archives for Art Terms, filed under ‘S’ for “Still Life”
multimedia installation of 3D-printed vessels, laser cut lace and plexiglas shelves, video montage and animation, handmade and appropriated objects, black light and colored bulbs, artificial fruit and greenery, fabric, shells and sugar on granite, mirror, and plywood surfaces supported by concrete capstones
12’ x 26‘ x 10’
2018
*photo credit E.G. Schempf
multimedia installation of 3D-printed vessels, laser cut lace and plexiglas shelves, video montage and animation, handmade and appropriated objects, black light and colored bulbs, artificial fruit and greenery, fabric, shells and sugar on granite, mirror, and plywood surfaces supported by concrete capstones
12’ x 26‘ x 10’
2018
*photo credit E.G. Schempf
PROJECT DESCRIPTION:
A multimedia installation at Charlotte Street’s La Esquina gallery as part of the group exhibition All Terrain. As a collective we are interested in the roles we assume as both hosts and guests, mediated by hospitality and generosity. Beginning with the historical still life as a form which explores these ideas – as well as abundance, consumption, pleasure, mortality, and many more besides – we wanted to shift the emphasis from immediate assosications of 17th-century Dutch paintings meant to be looked at to a physical environment meant to be experienced, while being responsive to our own immersion in visual culture. Playing with perceived hierarchies of decorative objects, linguistic constructions of the real versus artificial, looking critically at the formal legacies of Modernism, and considering the space of the gallery on equal standing as the digital space of screens and escape, the work expands our shared language of critical generosity and play.
A multimedia installation at Charlotte Street’s La Esquina gallery as part of the group exhibition All Terrain. As a collective we are interested in the roles we assume as both hosts and guests, mediated by hospitality and generosity. Beginning with the historical still life as a form which explores these ideas – as well as abundance, consumption, pleasure, mortality, and many more besides – we wanted to shift the emphasis from immediate assosications of 17th-century Dutch paintings meant to be looked at to a physical environment meant to be experienced, while being responsive to our own immersion in visual culture. Playing with perceived hierarchies of decorative objects, linguistic constructions of the real versus artificial, looking critically at the formal legacies of Modernism, and considering the space of the gallery on equal standing as the digital space of screens and escape, the work expands our shared language of critical generosity and play.
