Obsessive Sentimentality: Refined

IMG_8370My work for DJCAD’s Degree Show this year is now officially installed and presented. And I feel numb. So I have little to say on the matter at the moment.

Other than a huge thank you to my friends, family and tutors for all their help and support. Special mention to ‘Mother Harriette’ for her patience and helping hand this past week.

Here’s something I prepared earlier, some accompaniments to my show.

 

 

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We do not cling to the past. The past is a by-product of a reluctance to let go of the present. We build collections to record a spectacular presence. All but the cataloguing is lost. Objects become something different: an image of recollection. They have shed their intended usefulness and now serve to be viewed and maintained. Rachael Disbury’s work surrounds this notion. The artist creates entirely new objects through a change of context and purpose.

Assemblage and installation based, the work is contemporary in palette and form, straying away from the ‘kitsch’ often associated with hoarded collections. Typed text is combined with gathered objects and constructed displays. The use of recognised items allows the viewer to look at the familiar, in an unfamiliar way.

The artist’s current research addresses the question ‘What Makes an Object an Artwork?’. The answer is multi-layered; the intention of the artist, the perception of the viewer and the curation providing context. Rachael Disbury’s practice is based on a belief that these components go ‘hand in hand’ in the experience of an artwork. Perception, purpose and placement are key factors in the resulting interaction.

 

 

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