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Hew Locke's sculptures
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after collecting commissions from the Met, Tate Modern, British Museum and more, Locke's solo exhibition, Passages, knocked on my doorstep at the Yale Center for British Art. the Guyanese-British "postcolonial baroque" artist reflects on the aftermath of great britain's 170-year long colonial rule over guyana as it pertains to power, transience, economy, and identity-building through symbols. his sculptures weave together "non-traditional" materials – cardboard, strings of beads, mass-produced plastic toys, intricately patterned fabrics, faux plants, faux gold jewelry, found objects, etc. a palette resonant with the predominating mix of ancestries – indian, chinese, and west african. colonial symbols of power serve as the canvas and physical infrastructure, encompassing archival business documents, political monuments, soldiers atop horses, 10' tall heads of the queen, or scale-model naval and trade ships used to take from and transport people of south asia to the west indies for forced labor in appropriating symbols of british power through intricate layering and weaving and draping, locke reimagines (or reasserts) power, shedding light on the lens of a complex culture and rather overlooked diaspora very special to me
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Picnic by Junya Ishigami, 2010
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plotting on a DIY one of these days. cartoonish wire-frame chairs were adorned in crochet (bowties, skirts, fringes, perhaps a bikini bottom), working to "personalize" the body of each chair, which is further personified in action: chairs facing each other, forming clusters, turning away, holding hands. i understand this as and embodiment of infrastructure and thermal comfort or a shy form of playing make-believe, like dolls in a dollhouse. they even have little shoes. absolutely
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Digesting Duck
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also findable under the name "Defecating Duck." completed in 1739, comprised of hundreds of moving parts, the swift capability to stretch its neck, flap its wings, drink water, eat grain, and simulate the biological process of digestion. automation imitates life.
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Quaker Furniture
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especially a good peg rail. functional and strong but dainty nonetheless. no fluff and no fuss. proposed antidote to the japandi epidemic.
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Marie Lund's Curtain Paintings
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sun-faded curtains found in abandoned american homes and stretched over wooden frames. the faded fabrics reveal imprints of windows–not quite painting, not quite photography, not quite sculpture, but somehow all three
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9/11 Afghan War Rug
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protest art or tourist souvenir, i don't know. the earliest war rugs were made in central asia by women in villages and refugee camps in the aftermath of the 1976 saur revolution. today, these works tend to narrate the violence by flattening the space and machinery–helicopter gunships, occupation maps, AK-47s and tanks—that define this event and the 20 year conflict at large. each rug one of one. through the accumulation of small shifts in each replication over time,, symbols change scale and language morphs:"FLIGHT" > "FL I6T", "MISSILE" > "SRM SLE".the visual story changes through recursive displacement and subtle acts of re-authorship––food for thought for the western image-maker. own a moment in time.
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