2025 RETROSPECTIVE EXHIBITION 2022 TRANSITIONING REALITIES 2021 COLOUR CODED SALON SHOW 2019 365 DAYS INSTAGRAM PROJECT 2018 INDETERMINATE STRUCTURES 2015 SUSTAINED EXPANSION 2015 MULTIPLE VISIONS AND (MIS-STEPS) 2014 EQUILIBRIUM (DECONSTRUCTED) 2013 RESTRICTIVE ACCUMULATIONS 2012 LOOSELY CONTAINED 2011 REVELATION THROUGH CONCEALMENT 2010 DISRUPTIVE ELEMENTS 2010 REDEFINING PAINTING 2010 DISPERSION 2009 PATTERNS OF PROBABILITIES 2008 PULSE 2007 MY IMAGINARY COSMOS 2006 COMPLEX DYNAMICS 2005 EMERGENCE 2002 CODIFY/CODE -DEFY
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TEXT : 2025 Retrospective Exhibition

Marlene Sarroff

 


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P A RT 2 (C o n t )

All discovered things create vital possibilities that transcend their original manufacture to be recontexturalised and elevated into a work of art.  What transpires in making the work is accidentally miraculous, an engagement with a new kind of anthropology, an immersion in the pleasures of popular culture, or a meditation on what happens unexpectedly. It simply is a means of seeing everyday objects and materials in a new light. As Henri Lefebvre, a theorist on this subject, notes the "concept of everydayness (can) reveal the extraordinary in the ordinary." At a philosophical level the celebration of the everyday has oppositional and dissident overtones, offering a voice to the silenced and proposing possibilities for change. This exhibition is a  really interesting adventure not only for those that viewed the work but my own memory and an attempt to analyse a journey of dedication both literally and conceptually to the work. The delightful surprise to re-engage with a 1995 Painting, to give homage to Builders Tar Paper, roofing foil and bubblewrap.  Influenced by trips to India and Indonesia, also  print making to more recent times, cardboard, and  continuing the importance of the “everyday” accidental found things.( up the lane, around the corner, etc)  Surprisingly the reconnecting with a metallic sensibility has surprised me by  forgetting past  works where the metallic was used for some important work. Assemblage remains a defining aspect of my working method and combines seamlessly with the found objects that are utilised almost like the “icing on the cake” .  My studio  work remains important however Installation (not represented in this exhibition) working within a space is an exciting extension of my work over the years.  Finally setting up this exhibition with a wide variety of work in the studio, I became resolved to the fact this is not going to be a sharp clean white space or even a time line for the works.  I have relented to images that show works stacked, piled up and certainly mixes the times. They don’t always appear connected, however it is the materiality and the found readymade that brings the “eras’ together I think.



MARLENE SARROFF