Aleana Egan
At intervals, while turning
3 February - 13 March 2011
Aleana Egan , installation at The Drawing Room, 2010
town and terrain 2008 - 2010 16mm transferred to DVD, 4mins 12secs
Courtesy the artist and Mary Mary Glasgow
Photo: Dave Morgan
Aleana Egan , installation at The Drawing Room, 2010
Binet's addition 2010 (detail) Steel, split pins, rope 380 x 56 x 56 cm diameter
Courtesy the artist and Mary Mary Glasgow
Photo: Dave Morgan
Aleana Egan , installation at The Drawing Room, 2010
Binet's addition 2010;and
blue tray 2010 Cardboard, tape, filler, tile adhesive, sealant, tissue paper, polyester stuffing, fabric, dye 96 x 74 x 11 cm
Courtesy the artist and Mary Mary Glasgow
Photo: Dave Morgan
Aleana Egan , installation at The Drawing Room, 2010
particular and what differentiates, 2010 Steel, steel mesh, concrete repair mortar, pigment 100 x 140 x 2 cm
Courtesy the artist and Mary Mary Glasgow
Photo: Dave Morgan
Aleana Egan , installation at The Drawing Room, 2010
Opinion 2010 Cardboard, tape, filler, paint, varnish 183 x 123 x 11 cm approx each; 3 parts; and
clarity afforded 2010 Steel, dimensions variable
Courtesy the artist and Mary Mary Glasgow Photo: Dave Morgan
Aleana Egan , installation at The Drawing Room, 2010
At intervals, while turning publication
Photo: Dave Morgan
The Drawing Room is delighted to announce Aleana Egan’s first solo exhibition in London. Egan will make a new body of work in response to the architectural space and the immediate environs of the Drawing Room.
Drawing forms the starting point of Egan’s work, with a sketchbook providing a repository for the noting down of ideas and experimentation with forms that are developed into autonomous drawings, collages, sculptures and films. Ideas are triggered through observations made during everyday life, but also by memories of childhood experiences and works of literature. Often inchoate, these are atmospheric and sensory triggers that lack narrative definition and carry through into her practice through a subtle and intuitive working process. For example, it was the aura of tightness, a certain tension, that reading Jean Rhy’s novel ‘Good Morning, Midnight’ left her with, and it was this quality that she sought to engender in a sculptural form Character, 2010, although quite different from the drawing that Egan made after reading this story, does retain some of its characteristics.
Her works evolve through a series of stages, with each successive layer gaining a density until the final form emerges, coherent and cogent, yet insistently resisting the stamp of the finite. Her practice is dominated by a meandering, sensuous line which carries through into the fluid way in which her films are made and suggests a condition of flux. When the line is filled to form a plane and to become a receptacle, it is still kept open, to collect snow or rain water, as in, for example, In Their Order of Appearance, 2010, made for the Sculpture Center in New York. Egan often works with very crude materials such as cardboard, plaster and concrete, and her sculptures are painted with carefully mixed, very matt colours. The rawness and openness of the sentiment or idea that triggered the work is embodied by these carefully manipulated materials. Egan does not wish to tell stories or make grand gestures but to find appropriate forms to engender psychological states and memories.
Aleana Egan was born in Dublin in 1979 and lives between Berlin and Dublin. Recent solo exhibitions include Mole Vanvitelliana, Ancona (2010), Temple Bar Gallery, Dublin and Art Basel Statements (2009)and Kunsthalle Basel, Switzerland (2008). Recent group exhibitions include Sculpture Center, New York (2010), 5th Berlin Biennale, Berlin and Kunsthalle zu Kiel (2008).
Links to further related information
Publication
An artists' book has been published by Drawing Room to coincide with Aleana Egan’s solo exhibition.
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Aleana Egan Includes 23 colour illustrations. |
