Romancing the Stone
Adam Marnie
Monique Mouton
Davida Nemeroff
Bobbi Woods
October 19–December 12, 2012
An exhibition relating the transference or transmutable qualities of one medium to another; Romancing is mediating, or translating, or digesting, or interpreting, or generally making love to, or jerking off to, - the stone: what is the stone? The art, the architecture, the subject, the body, the image, the form, the idea.
Within the exhibition, works traverse over and through artistic mediums, resulting in something temporal; a feeling that something may have happened before. In the works of Adam Marnie, the sheetrock renders a direct action that occurred, while Monique Mouton’s surfaces paint with a thinness and frontality, which in combination with their shapes, are revealing of their making temporally. Mouton’s paintings are fluid and also tactile, they are also architectural, their installation creating something very much romancing the space and further.
Bobbi Woods’ modified posters share much of Marnie’s concerns and actions – the posters as adverts stand as a root material, a sign “to be looked at, machine made interruptions existing before her mark is made. Woods guides and extends these interruptions in order to focus the viewer’s attention. In much of her work, Woods partially obscures words and images, covering them with enamel, sometimes entirely blacking out any recognizable visual information. Davida Nemeroff's photographs, by nature, conjure something else, somewhere else, and they are stunningly haunting. Her photographs are left unchanged in any scarring procedure, for her the real subject is the monument, and the stage. Nemeroff’s photograph of these monuments brings, as Mark Leckey has stated, “that sensation when you come across a really big stone in all its obdurate materiality. Something that says I am an object in the world.” revealing how their work will romance each other, and further interact as a whole.
Fourteen30 Contemporary will produce a printed record of the culmination of this dialogue between Marnie, Mouton, Woods and Nemeroff, and their works within the exhibition, in early 2013.
Adam Marnie
Monique Mouton
Davida Nemeroff
Bobbi Woods
October 19–December 12, 2012
An exhibition relating the transference or transmutable qualities of one medium to another; Romancing is mediating, or translating, or digesting, or interpreting, or generally making love to, or jerking off to, - the stone: what is the stone? The art, the architecture, the subject, the body, the image, the form, the idea.
Within the exhibition, works traverse over and through artistic mediums, resulting in something temporal; a feeling that something may have happened before. In the works of Adam Marnie, the sheetrock renders a direct action that occurred, while Monique Mouton’s surfaces paint with a thinness and frontality, which in combination with their shapes, are revealing of their making temporally. Mouton’s paintings are fluid and also tactile, they are also architectural, their installation creating something very much romancing the space and further.
Bobbi Woods’ modified posters share much of Marnie’s concerns and actions – the posters as adverts stand as a root material, a sign “to be looked at, machine made interruptions existing before her mark is made. Woods guides and extends these interruptions in order to focus the viewer’s attention. In much of her work, Woods partially obscures words and images, covering them with enamel, sometimes entirely blacking out any recognizable visual information. Davida Nemeroff's photographs, by nature, conjure something else, somewhere else, and they are stunningly haunting. Her photographs are left unchanged in any scarring procedure, for her the real subject is the monument, and the stage. Nemeroff’s photograph of these monuments brings, as Mark Leckey has stated, “that sensation when you come across a really big stone in all its obdurate materiality. Something that says I am an object in the world.” revealing how their work will romance each other, and further interact as a whole.
Fourteen30 Contemporary will produce a printed record of the culmination of this dialogue between Marnie, Mouton, Woods and Nemeroff, and their works within the exhibition, in early 2013.