Third Space (2024)
Linden New Art with Anindita Banerjee and Jane Bartier

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Pithos to the spirit ditties (2024)

Trestle table, collection of urns. Dimensions variable. 

 

Magnum Opus: five hundred and fourteen eggs (2024)

Children’s chair, paper mache urn, drawing. Dimensions variable.

The collection is marked by a material network of discrete lumps and moveable pieces, selected to contain and represent value, form, or content. The collector, world-builder, registrar of sorts, takes these things and places them, even tests them, within a set of rules of engagement. The objects play along, or they don’t - neither matters. An urn might be said to represent many things, a container of life or death, a symbol of the passage of time, desire and fulfilment, and transience and temporality. Keats wrote that the urn demonstrated that ‘art is eternal and unchanging, while life is fleeting and impermanent’ whilst Adorno and Crimp attested that objects ‘are in the process of dying’ and that we might see a Museum as a Mausoleum. These works are both about the urn as an object of death and the death of the object. A vessel and a container, a footnote of existence: performing, diagramming, assembling and ruminating on modes of existence through open-ended experimentation.