7/28/2019 Commentary Ingress
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Ingress, Installation view.
Ingress , Installation view.
windowless space helps exaggerate suchfeelings when there are no
other secondaryor tertiary distractions.
Allmans personal narrative StudioRetrospective (mixed media,
2011-2013)suggests a domesticity that could be seenas a prison or a
confinement. Within thiscorner, Allman erected neutral palettes
offurnishings, a hanging dress andneedlepoint samplers. Among them
wereeight video channels (comprised of iPadsand iPhones) displayed
on walls andledges. It seemed everything was
presented haphazardly, and in far too greatan abundance, which
affirms a theory, doesbeing attached to things and hoarding
thembecome a security blanket? Conceptualartist Barbara Kruger
summed it up best, Ishop therefore I am.
Shadows and light play a large role inNeurons & Synapsis
(2013, crochet pods,lights, sound) and Londono-Rojas
StudioRetrospective #1, 2, and 3 (all 2013, allmixed media
installation). Londono-Rojasembraces the character of the space
herwork occupies by intuitively arranging herown materials with
pieces already there.Gym lockers, silver ladders, evenphotographs
have individual illuminationsthanks to the obtuse lighting already
inplace and whatever else Londono-Rojasinstalled.
In Neurons & Synapsis we were missingthe sound that was
promised, but Iwondered later on if we were meant to hearpeople
touching and maneuvering in andaround the pods, asking, I dont
hearanything. Do you? which become an audioloop all its own. The
crocheted podsdrooping teardrops were perceived assomething one
might see in a SouthAmerican rain forest, the fibers felt wet
andviscous too. Although this style doesntcome too close to
American artist JessieHemmons yarnbombing techniques, it
issomething I hope to not see too much of asthe trend is bordering
on clich.
With both Neurons & Synapsis and StudioRetrospective #1, 2,
and 3, I was glad tosee the work bleed more into theenvironment.
Interaction without a surefooting amongst these spaces
elicitedconfused responses that were highlightedand disarmament
moved to the fore. Itbecame awkward for the audience on howthey
should tread, which can be fun towitness.
As a child, I really thought the 21st centurywould be a world of
smooth, modulatedplastics and jet packs, but these
artistsrenderings speak to a progression towardshome, spirituality,
and the importance ofour pasts, albeit on a very rudimentaryscale.
F or some time, I have felt thesensation, and have seen it in other
artistswork too, there is an acceptance of thefuture with a wistful
nostalgia for a simplertime as cultural, environmental and
politicalsituations affect our existence. Analog,handcrafted,
homemade, organic andvintage are current buzz words dedicated
toliving a strong pastoral resoluteness,fighting against the tidal
forces of change.
To label this artistic moment, or movement,as trite or mimicry
is missing the point. Aslong as there is new ownership withthoughts
and processes rather than feelingremorse for the sanctity of an
alreadydeveloped idea, there will be an actuationof innovation.
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