Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Barely tangible horizontal and vertical vectors: the physics of daisy chains

AA
View Discussion

This substantial loop made of hundreds of joined up (pressed) daisies, held aloft by over fifty glass stanchions, is a sight to behold. It is not optically spectacular - though it is beautifully understated and extremely fragile - but it is a clever idea.

Christchurch


Zina Swanson

The risk of it all falling apart

 

29 April - 24 May 2009

 

This substantial loop made of hundreds of joined up (pressed) daisies, held aloft by over fifty glass stanchions, is a sight to behold. It is not optically spectacular - though it is beautifully understated and extremely fragile - but it is a clever idea. As a sagging ‘chain fence’ it mimics in its contours the floor plan of the large Physics Room gallery. Each of the thin transparent stanchions that keeps it in place is perfectly vertical, one end v-shaped to hold the thread of linked stems, the other firmly screwed into a hole drilled into the stained wooden floor.

This work however is more than structure. Its obsessiveness is part of the appeal, the nuttiness of its prolonged and exhausting labour - like say Wolfgang Laib and his jars of collected yellow pollen, the repetitive, cursively written sheets of the late Hanne Darboven, or the paintings of Roman Opalka with their painted rows of tiny numbers - only less extreme. Swanson’s is only for a single show, not a lifetime’s career.

By cordoning off the centre, the inner space of the gallery, Swanson creates a pathway around the edges, containing her audience and pressing them against the walls when they back away from the delicate barrier. The length of the frail chain is precisely judged so that its load-bearing ability is not pushed too far. As it dries it seems to become stronger and not brittle.

Swanson’s exhibition is quite wonderful in the way it takes a childhood game to create a sculpture of considerable psychological power. Hopefully word will get round so it gets the appreciation it deserves.

(Photos courtesy of the artist and Mark Gore.)

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Gordon Walters, Untiled, 1974, 430 x 485 mm. Image courtesy of the Walters Estate

Walters Gouaches, Collages and Drawings

STARKWHITE

Auckland

 

Gordon Walters
From the Archive


5 February - 29 February 2020

JH
Noel Ivanoff, Levigation, 2020; Katharina Grosse, Untitled, 2001; Christine Reifenberger, Robe, 2016; David Thomas, From the Impermanances Series "The Movement of Colour / Dark Red", 2018; Christoph Dahlhausen, Bodies, 2018. Photo: Sam Hartnett

Colour vs Paint vs Support

TWO ROOMS

Auckland


International group ‘abstraction’ show of 13 artists
WestFabre: Paint vs. Colour
Curated by Christoph Dahlhausen


31 January - 29 February 2020

JH
Zac Langdon-Pole, Te Whananui-A-Hei / Cooks Beach 12.06.2019, 2019, sand photogram (1000% enlarged), made with sand from Te Whananui-A-Hei / Cooks Beach, Aotearoa New Zealand, archival hahnemühle fineart print, 3012 x 3940 mm

Langdon-Pole’s Celestial Avian Guides

MICHAEL LETT

Auckland

 

Zac Langdon-Pole
Interbeing

 

29 January - 29 February 2020

JH

Illuminating Xin Cheng Booklets

Xin Cheng

a seedbag for resourcefulness

 

A set of five illustrated booklets

 

Materialverlag-HFBK Hamburg, 2019