2015 FNB JOBURG ART FAIR
11 – 13 September 2015
To summarise Dominique Edwards’ practice is to collapse a black hole into a mop bucket or to fit the universe onto the head of a pin. Simplifying her work or train of thought is an impossible task, for the world Edwards inhabits is immeasurably complex and entangled. Linkages that on the surface appear arbitrary are in fact deeply systematic. Her process of artistic creation is simultaneously methodical and poetic, meticulous and profound and draws directly from the world around her.
Her recent show at Commune.1 ‘Buikspraak/Gutspeak’ at first glance seems to be rooted in the domestic world and at second glance reveals an exploration of visceral signals that bypass the rational and ideologically infused language centres of the brain and point to a phenomenology of presence. The title of the exhibition plays with interpretation and translation (‘buikspraak’ translates as ‘gutspeak’ but by definition is ventriloquism), which is also a main theme in the body of work. The two words, more than translations of each other, exist beside one another and each bring their own voice to the work. In this sense language is simultaneously inadequate and redundant.
Themes of cycling and recycling appear in her reconstruction of clean and dirty mop fibres hand-made into paper. Gaffer tape is unrolled and re-rolled many times over in her aptly named Turn-Re-Turn l and ll (2015) and cow entrails seem to merge into mop tendrils and then into jellyfish in her fish-tank-like video presentation. Edwards’ series of paint works could be thought of as a reinvention of painting. Instead of painting directly onto a single surface, Edwards paints on one surface, removes the paint and transfers it onto another, sculpting the paint in a manner that resembles aspects of the world around us, albeit upside down, with our eyes closed or on the blurry edge of our vision.
Dominique Edwards (b.1980, Kimberley) explores the notion of the sublime or the uncanny as contemplation on the ephemeral nature of human life and the moment of our death. She is interested in the repetitive activity of human labour, and notions of time and place, which she explores by means of drawing, installation, video and photography.
Edwards holds a masters in Fine Art from the Michaelis School of Fine Art (2012), a post graduate certificate in education from the University of Cape Town (2003) and a Bachelor in Fine Art from the University of Stellenbosch (2002). Edwards has taught and continues to work with a broad spectrum of students at various FET and tertiary institutions in Cape Town.
Black bags, builders' plastic, sandpaper, enamel paint on Fabriano, insulation tape, black pva
84 x 59cm (framed)
Cold glue, plastic tubing, tape, wire, yellow pva, white enamel paint, acrylic filler
84 x 59cm (framed)