Katherine Huang
Neon Parc
1/53 Bourke Street Melbourne, February
Plastic
It's 2008 and nice to have a show that feels like the future. Katherine Huang's current exhibition at Neon Parc seems to hail from there, but a good one where plastic hasn't taken us down, but has become a new passable and appealing media. That's a nice thing artists can do, take something that’s tagged ‘bad’ and give it a good new go.
Studio
Huang's studio drawings feel familiar and set the exhibition like it's still being made or is about something that feels like making. I have had about enough of ‘The Studio’— as mysterious location where real things happen — on invites or in Art Collector interviews. I think Huang does it better and a bit further.
Placement
With titles like, ‘This Piece Is About Air. There's Nothing There’ (2008), Huang’s op shop buys, containers and placements cap the inbetweens and spaces. Huang seems to really want us to notice where she put it and where the object is found — that she definitely chose it and not the other way around. It seems like the tweaking could go on forever, including her audience in putting and preparing to arrive, rather than the studio invite opposite of that.
Kate Smith
1/53 Bourke Street Melbourne, February
Plastic
It's 2008 and nice to have a show that feels like the future. Katherine Huang's current exhibition at Neon Parc seems to hail from there, but a good one where plastic hasn't taken us down, but has become a new passable and appealing media. That's a nice thing artists can do, take something that’s tagged ‘bad’ and give it a good new go.
Studio
Huang's studio drawings feel familiar and set the exhibition like it's still being made or is about something that feels like making. I have had about enough of ‘The Studio’— as mysterious location where real things happen — on invites or in Art Collector interviews. I think Huang does it better and a bit further.
Placement
With titles like, ‘This Piece Is About Air. There's Nothing There’ (2008), Huang’s op shop buys, containers and placements cap the inbetweens and spaces. Huang seems to really want us to notice where she put it and where the object is found — that she definitely chose it and not the other way around. It seems like the tweaking could go on forever, including her audience in putting and preparing to arrive, rather than the studio invite opposite of that.
Kate Smith
posted by speech at
12:59 PM
2 Comments:
i like your text kate.
someone said to me at kaths opening "kath has this amazing ability to make the found pieces feel and look made, and make the made pieces feel and look found"..she makes the irrelevant, fantastic and the curious even better. the titles were great...the work made the floor in neon parc look like it belonged there.
Agreed, Huang's consideration for her materials and ability to work with the aesthetic of Neon Parc's space was terrific. Her pieces demonstrated a superb reinterpretation of the 'artist's choice', and transformed an array of inanimate objects into an impressive exhibit that would leave the viewer both satisfied and smiling.
Post a Comment
Note: Only a member of this blog may post a comment.
Subscribe to Post Comments [Atom]
<< Home