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2022.06.11
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Hanna Margetson-Rushmore✎
Hanna Margetson-RushmoreArtist, curator, language innovator
Artist, curator, language innovator
Imagine you are presented with a series of sculptures that are objects encased in plaster. Each is labeled with information on what object is encased but you are unable to see the objects themselves. How much can we trust the information that is given to us? How willing are we to accept that these objects are in fact there if we cannot see them? Can we accept it? Do we need to? What is our reaction to this derivative or trace of the object? The very act of concealing the object is a statement, making you question what you are perceiving and how you look at things.
To conceal is to withhold information, by removing or preventing something or hiding it from view; in some cases preventing the “truth” from come out. Yet the very act of concealment can be a vehicle to highlight and reveal an alternative or different “truth”. With these “sculptures” the objects’ concealment makes space for the questioning and the to occur. Instead of focusing on the literal meaning or image of the sculptures the viewer is free to delve into their conceptual meaning. It reveals something new about the work, by not insisting on the truth it enables acceptance of the potentiality of what the work could be.
Imagine you are presented with a series of sculptures that are objects encased in plaster. Each is labeled with information on what object is encased but you are unable to see the objects themselves. How much can we trust the information that is given to us? How willing are we to accept that these objects are in fact there if we cannot see them? Can we accept it? Do we need to? What is our reaction to this derivative or trace of the object? The very act of concealing the object is a statement, making you question what you are perceiving and how you look at things.
To conceal is to withhold information, by removing or preventing something or hiding it from view; in some cases preventing the “truth” from come out. Yet the very act of concealment can be a vehicle to highlight and reveal an alternative or different “truth”. With these “sculptures” the objects’ concealment makes space for the questioning and the to occur. Instead of focusing on the literal meaning or image of the sculptures the viewer is free to delve into their conceptual meaning. It reveals something new about the work, by not insisting on the truth it enables acceptance of the potentiality of what the work could be.