Interchange and the Contemporary, the temporal object works of Sarah Keighery
The circle line series in Sarah’s practice has evolved since 2003 and present works emerge from a consistent art practice revolving around an experimentation with painting, sculpture, jewellery making, and eventually contemporary installation/object art. Specifically within that process the temporal quality of foods, plants, minerals and other substances have been utilised as a replacement for traditional materials like paint. For this reason it is key to a fitting reading the work that the life span or, relationship with time, further underlines the significance of a re-cycling aspect that the artist deliberates and speculates on a variety of present day attitudes. In this way, the semi-permanent installation dotted line works are described here as, contemporary interchanges. The work shown ‘Colour Code 555 – Pure Lustre, 2014’ has 5 segments in the line that sit on the earth and are affected by its surroundings.
This is a type of practice that questions why art needs conditions associated to it, and does so by proffering a critique of the viewers expectations that may wish to see it placed into a specialised contextual position, ga;;eery, private ownership and so on. This is a critique of values that is present within a defining span of time, in its very production. Subsequently the temporal works tend to make their way across a wider time span as archival material irrespective of intentions. Consequently, these sometimes flimsy or fragile object/works deliberate on whether they will they even be able be appreciated during their makers own lifespan?
In general, the object/works are monochromatic circles placed in an alignment. The circle or dot is the basic unit of the painted and sometimes drawn works. The post-minimalist use of the line (an extension of dots joined together) is in fact an architectural style of drawing in public places. And whilst the collective implementation of a monochromatic colour (often organic material/substances), applied to the dots/lines (wood, steel, plastic), are intended to emblemise a start position for a contemporary painting project. These contingent aspects create what the artist believes is, a microcosm, a place where a contemporary art and the notion of an interchange of conceptual concerns is staged and, where the basic beauty of painting is summoned – bringing the viewer to the fundamental issues of pictorial creation in a present day tense.
With these post-formalist and highly convergent artworks a genuine understanding of simplicity is meditated on, and the revaluation of the viewers minds thought processes reminds us of the simplest of questions what is contemporary art? Through this motioning forward of a painting project there is simultaneously a returning or circling back to valuable known traditions. And as the artist further states, I am relaxed in the feeling of knowing that something has happened before and will likely happen again, within the the genre of super reductive art.In this instance, through a post 20th century consideration of monochromatic art work evincing cyclic engagement, creation, even arts actual depletion.
Written by Rosa Nimming, Belgium, 2010.
Sarah Keighery: Colour Code 555 – Pure Lustre, 2014
Eco Spirit Exhibition – 1-5pm 6th April 2014 – Morton House Woodford – Guest Curation by Jacquelene Drinkall