” A Flexible Perspective” at Perkins Center for the Arts
” Consuming Boundaries”
Perkins Center Collingswood
Opening: Thursday, April 12, 2012
The Exhibition “Consuming Boundaries” features the work of four fiber-based sculptors: Maria Anasazi, Susan Benarcik, Ana B. Hernandez, and Diane Savona.
Their project bare few similarities yet they share an active process where there is direct involvement in, attention to and engagement with the materials throughout the execution of the piece.
This exhibition navigates the fabricated spaces created by four artists as they push and pull the boundaries that intermittently “define” their own emotional, and physical states It questions the role of the female artist and favors the internal logic and fiction of each artist’s practice, and the issues that fuel their investigation of self – as woman and artist.
It is evident that these four artists take delight in unlikely materials, and are more often found shopping yard sales and in second hand shops than mainstream artist supply stores.Consciously or unconsciously, they are compelled to re-contextulize simple, abundant, and abandoned materials in sculptural formats that investigate the logic of boundaries; real or imagined, ancient or modern. Their work interfaces everyday materials such as buttons, string, cotton and book pages, and explores how these materials are associated with our lifestyles, past and present.
With deliberate precision, the artists fold, cut, stitch, pattern, knot , and fuse memory and experiences into their work, and relish in the meditative act of doing so. These acts traditionally associated with “women’s work”, or crafting- are more common today as we see contemporary artists using traditional crafts in fine art contexts.
Diane Savona presents buttons, buckles and small tools as newly fossilized forms, tightly bound and stitched under deconstructed garments, and in cryptic treasure map-looking quilts. Selected from cabinets and curiosity jars, her embedded objects could easily be construed as columns of hieroglyphic symbols, perhaps a secret language that connects us to our grandmothers lives, our collective female heritage.
Ana B. Hernandez builds fragile and supple forms using simple, almost ephemeral materials that ebb and flow with the environment, appearing to adapt and re-create organically. The artist likens this tendency to the female form, as if the skin were a malleable fabric that shifts involuntarily between inner and outer currents.
Susan Benarcik captures the ephemeral nature of a thought, a touch, a feeling or a memory. Her forms are steeped in naturalist logic, and tend to grow, swell, root and curve as organically as a thought germinates. Activated by touch, gravity, or memory, these forms compel us to examine the unexamined by envisioning both internal and external forces at play.
Maria Anastazi, not having the luxury of books as a child, mourns the loss of the printed word. Entering through found and collected books, memoirs, and journals, she tries to touch the past, and constructs folded, fanned, and re-structured realities based on a fusion of personal and collective memories and experiences.
March 31 – May 12 , 2012