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Forget me not
Exhibition at Articulate Project Space, Sydney
Due to current experiences in my life this is a very personal exhibition. Going back to the place of my childhood and living in the house I grew up in, made me think about my life, about the many lives I lived. I met many people from the past, who are now old. With some, I reconnected and shared memories from our past life together. Others are gone forever. This body of works reflects on personal conflicting feelings of aging as the loss of youth but simultaneously as the strength of gaining experience and personal memories. These contradictory feelings are visualised through paintings, which represent snippets of memories of people, who I knew and who I lost. These glimpses into the past are connected to views into the future; materialised by soft sculptures which, with their sexual but simultaneously deformed bodily forms, reference aged but still sexual bodies.
Forget me not, the largest piece in the show that gives the show its name, is an installation of two painted backdrop banners on which lies a bulbous female torso made of white table cloth I inherited from my mother. The layers of white as the fog of forgetting frame windows to the past, which refer to former lives and memories. Bodies caught in boxes. The golden Cage, a recurring image, is a personal symbol representing the home I grew up, a house, which seemed nice on the first view, but for me it was a prison.
Memory-line, the row of painting is depicting events or people from my past. Like memory snippets appearing and fading in the white layers of forgetting.
Still you, I (still) remember you, You know how I feel are soft sculptures that materialise aging deteriorating bodies, which are still sexual.
Forget me not
Exhibition at Articulate Project Space, Sydney
Due to current experiences in my life this is a very personal exhibition. Going back to the place of my childhood and living in the house I grew up in, made me think about my life, about the many lives I lived. I met many people from the past, who are now old. With some, I reconnected and shared memories from our past life together. Others are gone forever. This body of works reflects on personal conflicting feelings of aging as the loss of youth but simultaneously as the strength of gaining experience and personal memories. These contradictory feelings are visualised through paintings, which represent snippets of memories of people, who I knew and who I lost. These glimpses into the past are connected to views into the future; materialised by soft sculptures which, with their sexual but simultaneously deformed bodily forms, reference aged but still sexual bodies.
Forget me not, the largest piece in the show that gives the show its name, is an installation of two painted backdrop banners on which lies a bulbous female torso made of white table cloth I inherited from my mother. The layers of white as the fog of forgetting frame windows to the past, which refer to former lives and memories. Bodies caught in boxes. The golden Cage, a recurring image, is a personal symbol representing the home I grew up, a house, which seemed nice on the first view, but for me it was a prison.
Memory-line, the row of painting is depicting events or people from my past. Like memory snippets appearing and fading in the white layers of forgetting.
Still you, I (still) remember you, You know how I feel are soft sculptures that materialise aging deteriorating bodies, which are still sexual.
Kirsten Drewes, Visual Artist