Sunday, 29 January 2012
Tuesday, 15 November 2011
Plane/Site Galleries @ Moxie Studios
Exhibition runs 11th - 21st November 2011
Preview 10th November 6-9pm
Curated by Jennie Taylor
The World is not the Universe is a solo exhibition by Dublin based artist, Sharon White. The exhibition’s focus is on interpretations of fact and functionality. Each piece is based on a recognisable object e.g. a blanket, a branch, a lifebuoy. The artist transforms her subjects into versions of themselves where particular aspects of the objects’ original make-up is altered.
Sharon White's work deals with themes of metamorphisis, deterioration and regeneration. While her practice has encompassed a variety of media, it is mainly through sculpture and the use of found objects and recycled material that she makes her work. Past bodies of work have concentrated on the human body, utilising the shapes and forms as well as the personalities of found materials to replicate the structures found within our anatomy. The relationship between artefact and meaning and how this can be reordered to create a new narrative is a key concern of White, particularly for this exhibition.
Selected previous exhibitions of Sharon White's work include: Oddio, Exchange Dublin in colaboration with Aine Belton,2010. Earwig!Tuam Arts festival, various locations, Tuam Co. Galway, 2010.Shop if You Can, Look if You Want, St. Patrick's Festival Art Trail, various locations, 2010. Scribble Box, Bombhouse Gallery and Studios, group show, 2009.
Gallery opening times: Mon-Sat 12:00 - 17:00
Image: Life Buoy 2011
Friday, 15 April 2011
Garden is one of my most recent pieces. I liked the idea of capturing various stages of activity within one moment. This work refers to relationships and to the variable motions of exchange we go through with others. I became fascinated by the venus fly trap- particularly its ability to attract and consume its prey. This lead me to consider dependency on others and the necessity of interaction; as well as the need to appear attractive to others and the questionable outcomes of success. This piece was recently shown as part of 'One or Several Wolves', an exhibition of work made by moxie studios' artists.
The Sea is a more recent continuation of The Sea and the Sky. Here, I was concerned more so with our capacity to navigate our way through the intricacies of life . Unlike The Sea and the Sky, none of these pieces are kinetic. Instead; Lighthouse, Compass and Fog refer to leaving behind a repetitive or stagnant situation and explore the challenges of starting anew.
Prisoner was one of the first pieces I made when I moved into my studio. Following a gap of a couple of months without space to make work, I was anxious to dive back into it but was unsure what direction I wanted to go in. This piece was a response to my artistic inertia.
Sunday, 27 March 2011
The Sea and the Sky is a body of work which deals with themes of metamorphosis, deterioration and regeneration. Comprised of found objects and recycled materials, each of the pieces has the capability of movement - turning a crank can result in the movement of a ship travelling through rough seas, the rise and subsequent crash of a wave or the flapping of wings. The constant repetition of movement in each individual piece suggests the difficulty of surpassing a particular stage. For the spectator, meaning can be interpreted in many different ways – through the familiarity, condition and appearance of the materials, as well as through the movements generated by the action.
During a recent collaborative project with artist Aine Belton ( http://ainebelton.wordpress.com/oddio/ ) entitled Oddio; everyday objects were chosen for their sound qualities. The pieces were both left in their original state and reconfigured or combined to form instruments. These instruments were then used for the production of audio tracks. The audience were encouraged to create their own sounds from the instruments as well as to find inspiration from their own surroundings. Photographs by Aine Belton.
The title of the project is a play on the word audio and also an appropriate term for the sound sculptures or musical instruments which the artists intend to invent. The artists will work on site de-constructing and reconfiguring materials which will then be utilised for their sound qualities. The aim of the project is to promote the every day and ordinary sounds which surround us in our environments, ranging from minimal to obtrusive. Within this, the artists will combat how a ‘noise’ can be appropriated to a higher plane of appreciation. It can be said that music exists because noise exists.
Every moment of our lives we are accompanied or subjected to sound in our environments. It is with practice that we manage to tune out these intrinsic quirks. In comparison to music, noise is seen as a negative, an unattractive intrusion. With noise one associates disorder, with music we have an inherent sense of order. In an art context, the Dadaists and Futurists were first in experimenting with sound in their environments. It was with their embracement and appropriation of industrial noises that encouraged generations to explore noise music/sound art. In contemporary society the use of technology has allowed much advancement in the music industry. However, Belton and White are focusing on the raw qualities of sound from of ordinary everyday objects and found materials. The artists will investigate sound and musical
composition, creating sculptural pieces which will come together to perform a composition.
Through this project, Belton and White are addressing the idea of appropriating noise into sound. These experimental musical instrument/sculpture hybrids, while primitive in construction and aesthetic, can reveal the basic nature of a musical instrument.
Áine Belton has a background in video, sound, performance and photography. She is also a musician and plays many instruments including bass, drums and guitar which she has been playing since childhood.
Sharon White’s practice encompasses drawing and sculpture, most recently she has been working with found objects. Sharon’s work often involves disassembling objects in order to reassign a function.