November exhibition 2018
Constellation in the Cranny
This body of work is an extension of the previous exploration of the solo exhibition, Forms on Edge at AIRspace Projects in 2016. The edges, forms and placements in space were the primary vehicle in image making and in assembling emotive narratives. For this exhibition, the change of material from plywood to paper clay introduces the sense of touchas the predominant form of expression in the rendering and shaping of the forms.
Touch brought its own metaphor into the visual realm. The reflexive nature of touch forms the basis in the assemblage of the constellation of forms. The sense of touch and being touched parallels the back-and-forth feel of the assembled forms. With this, the spatial consideration in the placement of these forms also plays an integral part of the finishedwork. The negative space and surfaces embody the invisible and the affects of body memory and its processes.
These works remain experimental in their making. Although air dried paper clay has been widely used for intricate sculpture work, it is less common in its use as painting support primed with watercolour ground and applied with egg-tempera paint.
Image Credit: Anie Nheu, The imaginary, 2018. Paper clay, egg tempera paint, drawn line on digital image.