17/1/2011
Bitsy Knox
Komplot, Bruxelles
A body of new works. Knox found an album on vinyl entitled 'All Alone' by Rubeck, a one-time solo project by Belgian musician Rudi Fabeck. It was the jacket cover that intrigued her. This image marks the starting point for a project, which lies as much in historical investigation as it does in speculation.
an exhibition curated by Komplot
With the exhibition “I STILL SAY YES”, Bitsy Knox (born in 1984 in Vancouver) presents a body of new works. Knox found an album on vinyl entitled 'All Alone' by Rubeck, a one-time solo project by Belgian musician Rudi Fabeck. It was the jacket cover that intrigued her. This image marks the starting point for a project, which lies as much in historical investigation as it does in speculation. “With the information I collect, I form webs starting off as disparate and fuzzy and are eventually intertwined and whittled down to a single thread, which is then duplicated, manipulated, and simulated”. The initial piece of this exhibition is 'Every Afternoon I See a Little Less is More', drawings isolating different elements of the cover, in a gesture reminiscent of fan art. The appearance of a slight abstraction in the drawings announces the distance between Knox's understanding of the object and its actual existence.
The artist choreographs a permanent communication between the imagination of what would be and what is... With 'A Wintervening, A Nightimposition', a large drawing triptych, Knox moves "from being to appearance", she expands into a speculative space: What might exist outside the borders of the photograph. But the correspondence between Rubeck and the artist makes her feel like "[she is] talking to a ghost". Their exchange gave rise to 'Benidorm', a display table presenting photocopies sent by the musician to the artist. Some domestic plants that embody the undefined state halfway to life and death, inhabit the installation. Amongst them lies the sculpture 'The Wet Thud of My Words Hitting Yours, Indeterminately', nearby elements moving but seldom touching each other.
Also at the center of the ensemble, the album not yet listened by Knox, finds shyly its place contrasting with the imposing verticality of 'Casual Histories of Uncertain Nature', pieces described by the artist as: “there is no need for them to be real, they are happy to be fake marble". Finally, the video titled 'No Shadows On The Nude Beach' reminds us of this definition of the sea from 'The Dictionary of Symbols': "Water in movement, the sea symbolizes a transitory state between unrealised potential and formal reality, a state of ambivalence, one of uncertainty, of doubt, of indecision with the power to move in either direction. From this comes the understanding that the sea is an image of life as much as it is of death." With this exhibition the audience is invited to stroll in a space where Knox suggests the idea of a story and a certain intimacy. Still.
Opening on 18th of January at 6pm
with a listening of the album “All Alone” by Rubeck at 8pm.
Komplot
295 avenue Van Volxemlaan, B-1190 Brussels
Hours: Thursday to Saturday, from 2 to 6pm
free admission