The enclosed net(work) of Sherri Chaba's intermedia works forms an estranging experience. The tiny hair like growths, made from soft wire scraps and mesh, have an unnatural resemblance to foliage from a distance and a remarkable reminder of follicles up close. The large scale work "Tenacity" for example can at first strike you as an overhead perspective of a woodland, with clusters of high density growth in some areas over others and the possibility of life deep within the strands of black against a brittle white landscape. But up close, the work takes on the microscopic view of surface, of skin, pushing for an overall haptic quality of the work that is at once sensual and sterile.
Always enjoying a physical engagement more so than just wall works, the sentiment was shared as the interactive installation of "Atrophic Utopia" was a buzz for most of the night with shoeless visitors. A large mesh-like tent, hanging overhead and with a parted entrance, set a top of sub floors. The elevated floor, the separation of space, made a great difference between a piece of work as concept and a work to be actively engaged in. Large cylinder spirals of the same mesh wire material hanged down throughout, conjuring half mythical forest and the other half entrapment. Just slightly needing to crouch as you navigate through the wire, you realize how frail the creation really is. There is a beautiful subtleness to the material and the form, forging a deeper meaning on the dependency of each other.
6 comments:
Grammar-check, and rewrite, please.
No doubt. Has this been badly translated from another language, or something? Weird.
fyi: I don't do re-writes on this blog.
however, feel free to cut and paste and edit as you like though. it's been done before. these are mostly first impressions and first drafts, but improve, argue and change as prompted. just don't forget to talk about the art when doing so and don't expect me to re-write your reviews.
You refuse to correct your mistakes? Why? If these are only first drafts, where's the second draft published, then? Are the errors fixed there?
And, how can we "talk" about the art, when we can't get our "talk" (by which you really mean writing) to accurately reflect reality? What you suggest is a non-starter.
Don't expect you to re-write my reviews? What are you talking about? What you're asking is for me to re-write YOUR reviews. What I'm asking is for you to re-write your own damned reviews. To fix your own errors. To take some damned pride in what you're doing here, if this is your profession. Holy shit, talk about your underachievers!
oh, chill out, anonymous. you sound like an afterschool special mom.
I review my writing before I submit it to this blog, if it's not up to your standards or comprehension, then we're at a loss. believe it or not, I took time with this chaba review and this is what came of it. the exhibition to me was elusive, esoteric, and so were my notes. I didn't read anything from this project as solid enough for an article in print, so here it is. Online and for discussion.
if I didn't "get" what the artist was after, then it's not actually an error, but an interpretation. I'm here to take in what these works are communicating, without didactics or artist statement filters, but on first impressions. I liked this show, but now I'm getting nagged for not liking it for the "right" reason? get real.
the opener has been narrowed down to three choices:
Altered Images, Donna Summer, Roxy Music
"everytime i sit around i find i'm shot"
[** there is always Elvis too]
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