Partage Montreal CSA Season 1 Collection Art
The genesis of this piece was a residency entitled ‘Géographies variables’ at La Chambre Blanche in Quebec City. There, I created an interactive web work in which this landscape is littered with claret scars and knots of thread—when hovered over with a cursor, a voice relates the story of the scar. Each account was compiled during the The Scar Project (2005-14??) where I asked participants to recreate one of their scars on canvas, and write its story. This terrain where they lay evokes the landscape of the body, with its lines like fingerprints, and marks like strata map the topography of our experience.
"how we remember is how we forget" is a recent print by Marigold Santos
whose imagery suggests abstract notions of the woven, fragmentation, attachment, and weightlessness. Contained within a small window or prism, these floating ribbons echo the need to make solid a memory, while simultaneously recognizing that in doing so perpetuates an unravelling.
Concerned with multiplicity, migration, folklore, and the supernatural, Marigold Santos' work functions in the realm of the otherworldly. "how we remember is how we forget" continues with this on-going exploration.
Thirty individual stones make up the larger piece of Apparatus creating an echo to the social body, institutions, landscape and environment we live in.
Each limited edition block act as a piece of the puzzle, reminding us of our interconnectedness within our societies.
Wood and coper speak to the materials that could be found before our cities were built, while the industrial cement evokes the geometry and layout that physically define us while we walk in them.
The dragonfly is my totem insect. I draw and redraw it incessantly, often adding human limbs, usually female ones. At once delicate and cruel, gentle and fierce, a winged fairy, but also a water creature in its larval form, this small and delicate monster accumulates contradictions and metamorphoses ... Exactly what I hope for myself, in fact.
I responded to Rhonda’s 'carte blanche' invitation, with small watercolours of anthropomorphic dragonflies, both identical and different, each transformed by fleeting moods, sensations and desires. Small traveling fairies drawn in northern Norway, inside the Arctic Circle, lit by the midnight sun.
From the end of the world, you are receiving a traveling fairy, quite sassy at times. She is strong-headed, listens to no one, and goes where she pleases. Tonight, you may want to put them side by side and observe their variations!
Appearing like totems of our consumer culture, my recent series of collage works have been made using primarily IKEA catalogues and décor magazines in order to explore our contemporary image practices involving advertising, design and commodity fetishism. In these rather surreal structures, objects seem not only to be metamorphosing into subjects (or vice versa), but also behave like animate beings with a will of their own. As a result the idea of “Total Design” is key to the reading of this body of work, the notion that essentially everything nowadays is mediated through design, from jeans, to holidays, to houses, to our own bodies.
For a few months now I have been breaking glass objects and trying to put them back together. Despite wanting to control how the objects break, I must accept the instantaneous transformation and the slow process of repair. The resulting sculptures and images are not a reflection of a dramatic shattering, but of the care and patience that comes from the mending process. In many cases I merge several glasses, so that they seem to be reaching towards each other, seeking support or wholeness. In a world in which we desire the new, I am trying to portray fragile lived experience.
For the continuation of this project, I will ask people to entrust me with a few of their own glass objects to break and repair into different configurations before their return. Commissioning a stranger to alter these personal objects will heighten the themes of chance, trust and vulnerability that are already present in the sculptures and images of the work. Please contact me through rachelechenberg.net if you are interested in taking part.
Rachel Echenberg, October 2015