Analia Saban – Interiors (February 27th – March 28th 2015)
The front room of the Sprüth Mangers Gallery (London) is visible from the street outside, you are drawn in initially by a large neutral, cream sofa which appears to be sat in front of a large canvas of the same colour and material, mounted on the wall behind. Once you enter the exhibition space it becomes clear that this is not the case, “Claim”(from Chesterfield Sofa)(2014) rather than two separate, individual objects as initially viewed is in fact a single, integrated piece. It is unclear whether the material stems from the canvas or the sofa. Personally I see the shared canvas material as growing downwards from the canvas frame into the surrounding space and spreading, merging into/with the sofa below, filling the sofa’s frame and giving structure and form to the object. The material invades the “interior” of the room, the room itself is not that big and “Claim”(2014) dominates the majority of the back wall, the dark cream colour of the canvas contrasts against the pure white of the wall. The sofa itself could be considered a “readymade” object, something that is common in post modern art. In this case the “readymade”(non art object) is being integrated back into the more traditional art object of the canvas.
Analia Saban “Claim” (2014)
The exhibition has various references to materiality, in the first room alongside the very material based “Claim”(2014) sits “Draped Marble” (For di Pesco Apuano)(2015) this work is more subtle than the former, and has the potential to be overlooked, in favour of the bolder more eye catching form of the sofa. “Draped Marble”(2015) consists of a thin slab of marble, cracked in the middle where it folds once draped over a wooden frame. Despite the cracks the slab still holds its form. The wooden frame coupled with the folded marble gives the appearance of fabric like a towel or sheet drying on a clothes horse. The marble rather than appearing cold, hard and rigid like the nature of the material, now takes on new properties appearing more fragile and delicate. Moving through the next room you walk along a series of black line drawings of flowers, “Fade Out” (Bouquet of Flowers in Ten Steps)(2015). The series focuses on repetition and accumulation, the ten individually framed image although separated by the frames become one, and the linear nature of the way they are presented gives the work a narrative, each time the image is repeated it progressively becomes distorted from left to right, becoming heavier and darker. The reproduction of the image, has a sense of the post modern about it, suggesting the loss of originality and uniqueness. It has hints of Andy Warhole’s Campbell’s soups, and the ideas of boredom and loss of identity. The piece is read from left to right as is ingrained in our nature thanks to the layout of books and text, even though this work is image based not text the same rules apply. Towards the end of the series the images begin to become unrecognisable it is only the previous images that alert you to the subject of the image. It is almost as though the flowers are decaying, loosing form. There is a sense of time and evolution, forming abstraction that can be viewed as an image giving into entropy, (loss of information, structure or form).
Analia Saban “Fade Out” (2015)
There are other pieces as you move further into the exhibition, again focusing on materiality and the readymade, but these three pieces stand out. The exhibition is an interesting collection of post modern ideas explored through the use of materials and the transformation of objects function. Whether this be for a new function or no function at all.