Virginia Overton (American, 1971- ) & Elaine Cameron-Weir (Canadian, 1985- )
"Infused with an ethos of economy, Overton's practice favours elemental materials, frequently recycled objects that are found on site or things discovered in the environs of the exhibition space. More commonly associated with architecture, construction work or farming, materials such as wood, metal, plexi and fluorescent lighting are cut, bent and hammered into works that evince the power and sensory quality of their own materials. ‘I like for the work to act as a marker of its own history – letting accrued defects show in the pieces – that talks about the ways in which the materials have been used’, she explains." - @whitecube
"In her sculptures, Elaine Cameron-Weir engages diverse aesthetic styles, bringing together modern, industrial, and natural designs to call attention to both manifest and hidden phenomena.
Since her earliest works, Cameron-Weir has drawn inspiration from the figure of the aesthete in late nineteenth-century Europe as a paragon of refined sensitivity to beauty, heightened sensory engagement, transgressive sexual desire, and the pursuit of pleasure through artifice or illusion. Intrigued by how many artists of that period pursued correspondences between senses, Cameron-Weir often introduces particular scents to her installations in the form of naturally aromatic resins like frankincense, myrrh, or labdanum—all of which have been used in a range of spiritual, medicinal, and funerary practices that trace back to the earliest civilizations." - @newmuseum
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Barry Flanagan (Welsh, 1941-2009)
"'The sheer adventure and life of the touch is the only relevancy,' wrote Barry Flanagan in his graduation thesis for St Martin’s School of Art in 1966. 'I must allow my hand to touch and feel, my eyes to look and see, my tongue to lick and taste, my nose to sniff and smell, my ears to listen and hear.'
Clearly a sensualist, his approach to art-making was exploratory; a fascination with materials and processes led to objects whose forms were arrived at through simple actions that are clearly visible in the end product. The first sculptures in this exhibition at Tate Britain are made from sand. Poured onto the floor, a small heap is hollowed out at the apex like a volcano; having gently come to rest, the particles remain in place without coercion. Poured into cheesecloth tubes, though, they struggle to escape and stretch the loosely woven fabric to bursting point. Canvas is stronger and more resilient; able to control its unruly contents, the canvas pyramid, al casb 4 (1967), can be left open at the top to reveal the sand inside and explain the slight sagging of the sides.
These lessons in gravity may sound banal, but there’s a playfulness to Flanagan’s approach that makes his explorations endearing. The cheesecloth rounds are as inviting as a pair of luscious breasts and, stained blue, the canvas pyramid reminds one of sea, sky and sand; resting on the sand is an aluminium scoop, like an invitation to play." - Sarah Kent (The Arts Desk, 2011)
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