Gabriela Albergaria, Sarah Duffy, Azadeh Fatehrad, Joey Holder, Gertrude Jekyll, Essi Kausalainen, Rachel Pimm, Suzanne Walsh
Preview Tuesday 31 July, 18.30, with live performances from 19.30
‘Entangle’ incorporates artworks produced by those diep~haven artists in residence who have poetically explored the intertwining of or slippage between human and landscape, the myths and mysteries that arise between the two and the impact of this entanglement on the human psyche. The exhibition takes its cue from a photograph by Victorian artist and garden designer Gertrude Jekyll; a staged image of a gardener dressed as a monk in the woods, a strange and romantic vision that harks back to an earlier time and invites reflection on the
idea of communing with nature. This image frames the exhibition as we navigate an interplay that combines the construction of a narrative with an authentic and spiritual encounter with nature.
Sarah Duffy’s interest lies in the fantasies of statues coming to life, or living bodies turning into stone. She is fascinated by the relationship between the stiff posture of the marble figure and the manicured landscape of the garden, which enables her to explore the connecting themes of petrification, symmetry and stasis. Château de Bosmelet is the point of departure for Duffy’s artwork ‘Descent’ and was the scene of her site-specific performance earlier this summer; her interest piqued by a statue of Demeter, Greek goddess of the harvest and agriculture.
Gabriela Albergaria presents two large pencil drawings of an ancient tree in National Trust Sheffield Park and Garden linked to the site-specific installation created in the garden during her residency there earlier this year. Using a camera to trace a vertical movement from the bottom to the top of the tree, Albergaria returns to the photos in her studio and draws the tree from a 180-degree perspective. The breaks between each section of the tree signify voids where interpretation can occur. By choosing to present a three-dimensional structure in two-dimensional format, Albergaria demonstrates how she understands a shape; her fine and intricate drawing of the tree touches an art historical tradition of draftsmanship.
Essi Kausalainen has worked with plants for the past ten years, and her practice is defined by them; she has developed an intuitive approach, listening and reacting to specific ecosystems. For the lonely hearts never to be lonely again was a site-specific performance for the Château de Bosmelet in France for Terra Firma. In this ceremonial piece, Kausalainen worked with two singers in the garden space of the Château’s grounds. Here, at Phoenix, Kausalainen presents the costumes, instruments and song created in response to the garden. The ambient sounds of the garden and performance take the visitor to a place that recalls the specific ecosystem of the Château, evoking the atmosphere and sensations that visitors originally experienced.
In Rachel Pimm’s two-channel video work, FYE-kuss e-LASS-tick-uh, the artist, in collaboration with horticulturist Amanda Dennis, uses the rubber houseplant as her point of departure. The two screens describe the plant visually and audibly; one camera pans the plant itself while the other screen shows soundwaves produced by the narration. The patterns created by the narrator’s voice are remarkably similar visually to the plant’s leaves, suggesting a convergence between nature and what is man-made. Pimm is fascinated by environments and explores their materiality and history from the non-human perspective of plants or minerals.
Porphyrin as defined by Reza Negarestani’s Cyclanopedia is ‘a chemical substance common to blood, plants and petroleum.’ By mixing elements of biology and natural history with computer programme interfaces, Holder investigates how notions of the natural and artificial can be dissolved. In this wall piece, Holder continues to examine how ‘everything is a mutant and a hybrid’. Joey Holder’s artistic practice asks questions of our universe concerning the future of science, medicine, biology and human-machine interactions.
The Whispers of the Garden is a work produced in the historical gardens of the Bois des Moutiers estate, France. Weaving documentary, analytical and personal narratives, this two-channel, moving image piece reveals the rich history of the gardens. For Azedah Fatehrad, these gardens represent the duality and convergence of Western and Eastern philosophies.
In Head Lands, Suzanne Walsh incorporates multiple works, including a poetic text and drawing entitled Ground Down. Fusing the geological and human, Walsh creates an artwork that evokes a natural space within the gallery environment; a soundscape that conjures a thunderstorm, the still and isolated atmosphere of a mountain and unquiet burial. Walsh’s work often addresses the non-human world and explores ideas of reality through performance and vocal improvisations. She uses these methods to subvert given forms of knowledge and animate the play between the scientific and esoteric.
«Entangle» comprend des œuvres d’arts produites par ces artistes diep-haven en résidence qui ont exploré poétiquement l’enlacement ou le glissement entre l’humain et le paysage, les mythes et les mystères qui émanent entre les deux et l’impact de cet enchevêtrement sur la psyché humaine.
L’exposition s’inspire d’une photographie de l’artiste et paysagiste victorienne Gertrude Jekyll ; une image mise en scène d’un jardinier habillé en moine dans les bois, une vision étrange et romantique qui renvoie à une époque antérieure et invite à réfléchir autour de la communion avec la nature.
Image: The Whispers of the Garden (still), Azadeh Fatehrad, 2018