The Second Souvenir – Jane Power

April 19 – May 16

Artist Statement

I have used this exhibition as an opportunity to reinvestigate some past work, examining some of the symbols I have evolved for my self either subconsciously or consciously; using source material I have collected, personal and sociological references I have developed for my own visual language.

Combining past images with newer ones, Treating older images with newer techniques and positioning older and newer images side by side.

The small clay figures and larger paper cut outs are players in a mise-en-scene. This is not a real space it is a space were allusions to reality are found, we could be engaging with a constructed playhouse.

The scale is the most important element of this work, the scale informs the viewers relationship to the figures, in the case of the paper cut outs, the viewers own shadow is actively drawn into the work.

Story telling is really what I am interested in, and the place that history and memory play in story telling, the unease and messiness that is inherent in the recollection of personal remembrances, working with images that convey a sense of shared history.

Such as the images lifted from old tourist brochures; taken out of context the images no longer represent a specific location but an emotional space, traces of memories with an almost poetic potential to provide an unconscious representation of unspoken dialogue from the past. The encyclopedic nature of these images have an instructive purpose; they are not book ended images; they lend themselves to being connected to other images thoughts, words, feelings.

The telling of any history requires some sort of regulation to map and read and interpret emerging patterns as a means of acquiring some recognizable understanding. In contemporary dialogue those known measures are re-evaluated and reinterpreted to create a space in which the conventional histories maybe read.

The medallions represent my desire to elevate the mundane and everyday, with these images, the challenge for both the maker and the viewer, is stringing together a narrative, enlivening the images; each image suggests something to another, so that the images embark on a conversation, eventually rejecting the narrative instead preferring .an impossible closure. There is an almost imperceptible luster and erotic charge in maintaining the daily grind. Exciting and boring. Making is love and meaninglessness. Folly and discipline in equal measure.

The mundane invests our every day lives with an almost poetic sensibility. Taking on a meditive element in which the mind can wander subconsciously to what is at the core of the head and the heart.

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