When I saw Lucy Skaer’s installation ‘Available Fonts’ in the KW Institute in Berlin, I felt an immediate alignment with my own practice. The repetitious and re-cycled installation exists as a language. Its conversational nature illustrates mis-appropriated and detached materiality.
My continued investigation into Lucy Skaer’s practice has helped me refine my thoughts and decide what is of importance in my work, as post-critique I felt confused. I have attempted to summarise my questions and ideas below;
- At what point does an image come into and fall out of coherence?* What pictorial/physical elements of an object last beyond multiple translations? Moving towards abstract territory from known and concrete existences.
- Breaking and stretching of representation and logic through mis-appropriation.
- Looking at objects that carry agency rather than content. Or attempting to de-contextualise art objects, or objects that are referential.
- LANGUAGE. Proposing tentative language and conversation that is not straightforward and detached. Disrupting narrative and representation to the point where it falls away and we are left to encounter physical forms in immediate terms.
- Pushing forms to the point of coherence.* Bypassing the discursive.
- Confrontational sensory encounters following fall outs of information.
- Looking at constructed shapes (Skaer) which expose ‘true’ materials. Shapes that are not wholly independent, shapes that are constructed in response to the way a material behaves in order to best display that material. Revealing or deceitful? True to materiality?
- ^Metaphorically representative of Art making. Art is dressing things up to render them bare?
SUBRACTIVE ACTS. “The motive that makes one work is surely to give a certain permanence to what is fleeting”.