Seesaw
dal 10/3/2005 al 3/4/2005
Segnalato da
10/3/2005
Seesaw
Transition Gallery, London
Martina Jenne is showing large, black and white photographs, Sharone Lifschitz a text piece, which is pink, lush and has a shape. So there is a contradiction between image and text, the see and the saw – the text becomes image and the photographs become text.
Martina Jenne & Sharone Lifschitz
Artists working together. The push and pull of collaboration. It’s a precarious balance.
You can’t play on your own; you need someone of a similar weight that lets you go up and down.
Seesaw is the third in a series of collaborations between Martina Jenne and Sharone Lifschitz
We are looking for a space between the works…. where previously we had a set of rules which we both stuck to, here we are playing off each other, seeing how far we can go without compromising our own work and without limiting the other.
So is this show about the im/possibilities of artistic collaborations?
That is one interpretation. We like to make limits or restrictions on our work, to set parameters. Without this it is almost impossible for us to make work. I think the word ‘collaboration’ creates false expectations, but I haven’t found a better one. For us the process of letting the other one speak in a different language with a content that is theoretically and purposefully out of reach becomes the subject.
How will Seesaw look?
Martina is showing large, black and white photographs, Sharone a text piece, which is pink, lush and has a shape. So there is a contradiction between image and text the see and the saw – the text becomes image and the photographs become text.
Do Martina’s photographs of surfaces with all their minute imperfections inter-react with Sharone’s text pieces?
There is no logical connection between our works; we are more interested in the juxtaposition. Think of it like reverberations…. like music. Martina’s photographs make you look, like when you wake up and see a pattern of marks on the wall that you have never noticed before. She directs the viewers gaze towards the seemingly mundane to make them look further. They have the same function as music that you happen to hear when you read a book and then in the future is linked with the emotions that the book triggered.
Sharone’s text pieces seem very passionate, like a violent mixed up love pain
The text I love you beautifully is presented in five frames and describes emotion becoming rhythm through repetition. It is a very personal work… like a journey through an emotion.
So maybe this idea of rhythm is the connection?
The interaction is up to the viewer; you will just have to come and see the show.
Private View Friday March 11 6 – 9 pm
Transition Gallery
110a Lauriston Road - London E9 7HA