the body's split
28 January - 23 February 2016
Commune.1 is proud to announce Daniel Blom’s second solo show at the gallery. In his trademark minimalist style, Blom’s ‘the body’s split’ is made up of four carefully selected sculptural works with accompanying text, and two drawings.
Historically sculpture’s preoccupation with the realistic representation of the human form goes back as far as the ancient world. After becoming unfashionable in the 1960s, figurative sculpture and painting (mostly due to a handful of German artists, namely George Baselitz and Anselm Keifer’s neo-expressionism) reemerged in full swing at the end of the 1980s. Blom’s disquieting sculptures are deeply connected to the type of art that was being produced at that time and are similarly concerned with subjectivism and a type of nostalgia and eroticism. In aus köplar (2015), a life-size figure of a man hangs upside down dangling from his foot, and the perfect underling (2015) shows a man without head or arms lying on his back with legs bent. Both figures are presented as vulnerable, fragmented but also empowered, implying a politicisation linked to sexuality and the male body in crisis. Fragmentation versus completion and emotive gesture are suggestive of Goya’s seminal etchings Disasters of War. Likewise there is a refusal of traditional narrative in Blom’s works. The two sculptures are made out of Blom’s trademark material, high-density polyethylene (melted white plastic) providing a tactile surface that could be read as either skin graft or white marble. Punctuating this white ‘skin’ are dark nuts and bolts working towards a type of decorative torture. The sculptures, although partially cast from the body of the artist, convey an internal state of being expressing more than just form.
the grey, grey horse (2015) is a collaboration with his brother, Stefan Blom, and shows a recumbent mechanical horse, made up of only skull and spine. The final and fourth sculptural work, the pyramidic Judaswiege (2015), concludes the sculptural part of the series creating a idealogical pivotal point from which to read the other works. The drawing, Forma particular (2015), shows a segmented spinal column in an inverted lunette, and sadness (2015), is a self-portrait accompanied by an enigmatic wooden tablet.
Daniel Blom MRBS is a member of the Royal British Society of Sculptors in London. He presently lives and works between Cape Town, London and Kaş, Turkey. In Cape Town he has previously shown work at the former Bell-Roberts Contemporary Art Gallery and Commune.1.