NATURAL is a body of work where I explore the process of readjusting to an unforeseen, significantly changed situation. Beginning with uncertainty and denial, this experience evolves to acceptance and the regaining of control.
Fader was inspired by observations in my surroundings that were askew, for example, a lopsided houseplant. Seemingly about to collapse, the sharp bends in this natural forms curiously mirrored current, unexpected turns in my life. Through observing these healthy anomalies, over time I discovered a real beauty in their unpredictable growth.
As a living, responsive organism, Fader Plant is shown in both positive and negative formats, the latter appearing to have a heat-sensitive quality as if to remind us that this plant is very much alive. Being installed on a protruding corner, different light will fall on each. As the plants are presented growing away from each other, a feeling of separation could be implied.
In Pissing, the tight crop of a trousered crotch is shown, flooding from within. At one metre squared, this image appears both monumental and confrontational. By remaking Knut Asdam’s 1995 video piece (of the same name), as a feminist inflection and an unapologetic self-portrait, I retake control over a loss of control. This piece to be installed, low down, at the intersection of two walls, to allude to the male custom of urinating in corners.
Fader was inspired by observations in my surroundings that were askew, for example, a lopsided houseplant. Seemingly about to collapse, the sharp bends in this natural forms curiously mirrored current, unexpected turns in my life. Through observing these healthy anomalies, over time I discovered a real beauty in their unpredictable growth.
As a living, responsive organism, Fader Plant is shown in both positive and negative formats, the latter appearing to have a heat-sensitive quality as if to remind us that this plant is very much alive. Being installed on a protruding corner, different light will fall on each. As the plants are presented growing away from each other, a feeling of separation could be implied.
In Pissing, the tight crop of a trousered crotch is shown, flooding from within. At one metre squared, this image appears both monumental and confrontational. By remaking Knut Asdam’s 1995 video piece (of the same name), as a feminist inflection and an unapologetic self-portrait, I retake control over a loss of control. This piece to be installed, low down, at the intersection of two walls, to allude to the male custom of urinating in corners.
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Fader Plant (2023) 59.4 x 62cm and mock-up to show work displayed on a protruding corner
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Pissing (2023) 100 x 100cm and mock-up to show work displayed in a corner
All images copyright © 2024 Georgina McNamara.
All rights reserved.
All rights reserved.