Thursday, 29 March 2012
WOrk from her oeuvre.
“A shoehorn sits between a shoe and a hand. A compact disc plated with gold, a door handle, a light bulb, a clothes hanger. Two part words.
Stones stand as geological specimens – extracts from a vast landscape, but up close they are their own vast landscapes, entire mountains. Objects are sited, offering an associative sense of scale and physical proportion, bringing one back down from the soaring heights. The couples have left their origins behind, paired up – forcibly abstracted, they are now free. A block of alabaster has the cold inanimate nature of a portrait bust not yet begun, a figure not yet rendered, material in flux. Paired with a disused domestic object, the silent presence of the human figure asserts itself through its absence.
Marie Lund is interested in material and the potential of continual process, the surface, border, the division between materials and their surroundings, it and the rest. It is not immediately clear whether a form has been left unfinished or been worn down, in a state of potential or nostalgia, (emerging or retreating) future or the past. Lund’s work situates itself in an ambiguous temporal order, dislocated from context and origin.
The Sequel is a bronze cast of mould of a previous sculpture by the artist, a figure of a bird carved into. Here, bronze, the most weighty and eternal of materials, depicts a shell with its core missing, a bird that has flown. The Sequel has captured nothing but the silhouette; it is a sculpture of an absent sculpture.
The two-dimensional becomes three-dimensional by a simple gesture between space and the material. Marine Painting calls to mind the Pietra Paesina works of the Renaissance – those polished marbles whose natural designs conjure up the silhouettes of ruined landscapes – is composed of a large sheets of marble, broken into two parts placed in the angle between wall and floor.” – Laura Bartlett Gallery