Powerful, raw, and sublime ‘Vignette’ explores the relationships between technology and the human body.
We live in an age when our human and our digital lives are connected in ways unimaginable even just a few years ago. Metadata – the vast, continually accumulated data of how, what and where our digital presence is taking place – is now seen as crucial to others as our blood test results.
Today, our idea of ‘self’ is jarringly brought together as a hybrid of our biological and digital lives. And it is this duality – this digital/human chimera – that Vicki Fanning is continuing to explore in this body of work.
User Generated Content (UGC) 1, 2 and 3 are significant works developed from earlier sculptural ceramic forms, where the artist explored a flowing, organic style with references to artists such as Brancusi and, in particular, the sculpture of Barbra Hepworth.
Although ethereal and magical, the materiality of these three elegant works is a fairly simple affair; clay, borosilicate glass, and silicon. And yet the sophistication of their construction has been tirelessly and painstakingly tested, retested, broken down, explored and reshaped over hundreds of studio hours. They are literally representations of moving forms in space; encased in fleeting fragments of memory, transitory elements, and fluid ideas.
The contrast between the clay; earthy, raw, human, malleable, and the borosilicate glass; shiny, pristine, and pure, as demonstarted in UCG 1 and UCG 2, is essential for an understanding of this work. Glass is now an essential part of the technology we interact with. The infrastructure of superfast broadband, for example, utilises glass fibre to literally transport information in the form, and speed, of light.
This is perhaps typified in its purest form by UCG 3, where no clay is present in the final form (although it should be noted it has been moulded from a clay ‘body’). And it is here that the transformation from ‘actual’ to ‘virtual’ is seemingly complete.
The plinths are delightful, and an important part of the work. Each has been painstakingly crafted to represent digital ‘test screens’; near nostalgic memories of colour test patterns broken down into jaggedly compelling sculptures that also seem to move in space; never standing still (a fact of our digital life, of course, is that it also never can).
These powerful works represent an new chapter in Vicki’s artistic practice. We encourage you to take your time to explore and engage with them – and perhaps even switch off for a while.
Click the link below to download a catalogue and price list for this show.
Vicki studied Ceramics in the early 90s at Carrington Polytechnic (now Unitec), where she recently returned as an Industry Professional, mentoring students.
In 2001 she returned to study Glass at Whanganui Polytechnic, learning various techniques in the Glass making genres, casting, blowing and architectural glass. It was on completing this study that Vicki self taught herself the lampworking process and technique that she currently practices.
Vicki’s recent work reflects on and combines both mediums. Developing techniques processes and concepts that relate directly back to the inherent qualities of both materials.
Her studio is in Matakana where after many years of travel and various endeavours she has returned to the region where she raised.
If you would like to enquire about a work featured in this show please contact us via the link below or call us on 09 422 9995
You can download a summary of works contained in this show together with the show Catalogue.