SIMONE SLEE rocks holding up
ANNA FINLAYSON working drawings
26 April to 1 June 2019
Sarah Scout Presents is delighted to announce solo exhibitions by gallery artists Simone Slee and Anna Finlayson.
Simone Slee’s rocks holding up follows on from her previous rocks and things, happy to help and continues Slee’s ongoing investigation into the conceptual conditions and problems of sculpture. As with earlier works, she demands complicity from particular objects that she constructs and composes. Slee doesn’t just make her materials the subject of art, in this case she expects her rocks and blown glass to reciprocally perform an action of propping or holding. The materials themselves became accomplices in her questioning of how things might be held up (and conversely held down).
While earlier smaller-scaled works could easily be manipulated, assembled and disassembled at the artist’s whim, these new works perform a slightly different function. These sculptures are much larger, heavier and more unwieldy, requiring assistance to both make and manoeuvre. Although the sculptures are simply and sequentially titled ‘Rocks holding up #3’, ‘Rocks holding up #4’ etcetera, it appears in fact, that the glass forms are actually doing the work of pushing and supporting the rocks. The materiality of these works certainly implies stability and permanency, however it is the suggestion of pushing and propping (and the immanent potential of failing and falling) that suggests these sculptures are actually the protagonists in some kind of durational performance.
Anna Finlayson’s new suite of drawings extends previous bodies of work that rely on repeating gridded motifs, coupled with the accumulated numeric and textual annotations transcribed throughout the making process. The fine hand-ruled grids that underpin the drawings remain as a link to previous works, make reference to historical precedents, and function as a compositional framework from which the drawings emerge. In the working drawings grids begin to expand and morph, multiple layers of interlocking forms and structures overlap in a playful exploration of form and ground. A more overt referencing of historical precedents is explored and evidenced in the work.
Based in an observational approach to image making, working drawings present individual ‘snapshots’ of the daily experiences of making. As a body of work the drawings depict the progression and development of the ideas at play in the work over a period of time. The titles of the individual works , for example ‘Overlapping Square Forms’, describe the various layers of imagery within the work, whilst also indicating the methodological approach to the practice as one that encompasses imagery derived from multiple sources including historical references, preparatory processes and the ongoing experience of drawing.