Lavish

LOUISA MAXIM

(DATE TBA PENDING CURRENT COVID-19 RESTRICTIONS)

121, 125, and 178 Anzac Pde, Kensington

‘Lavish’
Speaks to expanded sculpture practice in its reference to gesture, site and its resistance commodification. Removing the unworked length silk from the space - renders it replaceable. No longer animated, it is unable to speak of freedom. It resists our need to own and speaks of the desire to experience transformation freely with others. 'Lavish' was made as a companion piece to 'Utter...'. First the mourning of a death, then the celebration of life.

An eleven metre piece of chiffon silk is floated on the air propelled by one fan and lit with a single light. One end of the silk is tied above head height and the other wighted on a shadowed white plinth. The silk is sprayed with water and therapeutic essential oil. As the silk dries it adds moisture and fragrance to the atmosphere in the dark space. The silk moves by the displacement of air caused by the presence of people, which speaks to our interconnected nature. The text is a poem of liquid onomatopoeia. It draws the imagined sound of the water beneath the site of the exhibition space. The tributaries flowing underground to the Sydney Cove of the un-ceded Gadigal land. The sound image of water; that washes and renews, enables erotic pleasure and birth, and is the substance of every body is implicit in the abundance of the word ‘Lavish’.

Speaking to expanded sculpture practice in its reference to gesture, site and its resistance commodification. Removing the unworked length silk from the space - renders it replaceable. No longer animated, it is unable to speak of freedom. It resists our need to own and speaks of the desire to experience transformation freely with others.

Yanti Peng's Offsite project will be exhibiting alongside offsite projects from Othy, Geirthana Nandakumaran, Chloe Kelly, and Yanti Peng!