New Art Highlights
12 - 18 December
New Art Highlights of the week includes: Sarah Feinmann, Lynn Reed-Golden, Susan Francis and Lucy Bevin
In the Making, 17th December 2022 - 16th April 2023 by Sarah Feinmann
Location: Salford Museum and Art Gallery
In the Making is inspired by Salford’s geology and archaeology; its geography, waterways, industrial history and development; the art in its gallery and objects in the museum, its people and their voices.
As I work with cyanotype and natural inks I found that Ordsall Dye works was on the banks or the River Irwell until the 1960's. Although there is no longer any trace of the the dyeworks I worked with Wodens bridge, which is nearest to the site.
Holdfast, 2022 by Lynn Reed-Golden
Don't forget! Holdfast will allow you to hold onto the treasured memory. Once your memory is placed on the memory plate, you can move it towards the minimiser/maximiser. You can make the cherished memory manageable, so you never let go.
Bronze, hardware, magnifying plastic, pine wood, velcro, thread.
Garden of Eternal Consequence, 2022 by Susan Francis
Media: Phormium spikes, gloss paint, paper mache balls, acetate, perspex, doll parts, found materials, wire grid
The work emerges from the constant collaging and layering of fragmented responses to meaning making in the lived environment. Not only is this involving materials, objects, colours and forms from the lived space but the constant trickle of digital content which merges with our analogue experience of the world. The installation is built around an oversized version of an ornament that sat on our TV as a child, creating an imaginary pseudo natural environment.
Strange Allure ongoing project, 2022 by Lucy Bevin
An ongoing project which began with home and memory creating work which concentrates on the subject/object relationship as seen within the framework of home and memory with emphasis on the disjointed nature of memory and an exploration of how the objects we interact with behave.
Within this context the work explores several related themes which connect to our relationship with objects, specifically looking at the house as an active participant in this relationship. For example the concept of the haunted house and the genre of the gothic novel where the haunted castle trope changes to that of the domestic house and so masculine changes to feminine, bringing about a consideration of the female body inhabiting the domestic space. The depiction of the female protagonist in eg The Yellow Wallpaper, The Haunting of Hill House and Great Expectations, represents this connection as does Francesca Woodman's photographs of herself in domestic interiors, inside kitchen cupboards, climbing up doorframes and being engulfed by wallpaper.
Looking at the haunted house and the representation of women in horror, the abject and Barbara Creed's Monstrous Feminine, the work considers these representations and connections with, or the dissolving of, the boundary between subject and object.
The work touches on aspects of ageing in place and the role of cherished possessions in that situation when the connection with objects including the house becomes stronger and to be separated from the object or vice versa would be akin to a loss of self. Like the hoarder's connectedness to their hoard.
Using a corporeal element conjoined with a domestic object the work begins to explore these themes.