Wall pressing 09.15; modelling clay, event. Installation view ‘The Material Turn‘, Margaret Lawrence Gallery, Melbourne 2015
unsettled sculpture; digital print; plasticine wall pressing, ash. Installation view ‘unsettled sculpture’, Sarah Scout Gallery, Melbourne 2013.
Carolyn Eskdale’s installation envelops the viewer. The finely textured layer of plasticine the artist has pressed onto the gallery wall creates a field and form. Part of the surface has been stained with a fine layer of ash and nearby a photograph of a detail of this surface is presented. Our encounter with the work is carefully orchestrated and its subtle allusions unfold gently. A precisely scaled, intimate space is delineated in a corner of the room close to the fireplace, from where considered interconnections between the architecture, geometries, form, materials and processes may be observed.
Untitled 11.13 operates as a trace of personal and collective memories registered within and beyond the room, and is imbued with delicate layers of association, suggesting spaces and times. Looking closely the viewer is drawn into intricacies; its sombre grey, ash-dusted surface teems with enigmatic impressions made by the artist’s hand and is both activated and sensitised by these repetitive actions.
- Melissa Keys 2013
Mediation Object, Mediation Photoworks
Mediation Object; timber, brackets, 110 x 90 x 3600cm. Installation view Latrobe Art Institute, Bendigo, Australia, 2017.
Mediation photoworks, 10 Digital prints on rag paper, mounted on aluminium, each 60 x 60cm. Installation view Latrobe Art Institute, Bendigo, Australia, 2017.
Sarah Scout Presents, Melbourne, Australia, 22 July - 19 August 2017.
Carolyn Eskdale objects drawings, the third solo exhibition at the gallery by the renowned Melbourne artist. Eskdale’s practice engages the transformation and reconstruction of actual, remembered and imagined objects in domestic space. As its title suggests, objects drawings comprises a suite of new drawings presented in relation to a body of sculptural works that were initially conceived for Louise Bourgeois and Australian Artists at Heide Museum of Modern Art, 2012-13. Eskdale's three sculptural works responded to the architecture and original domestic context of the David McGlashan designed modernist building Heide II. Though the works refer specifically to the rooms of Heide II, as they were inhabited by John and Sunday Reed (entrance object, laundry object, bedroom object), they also speak to the memories and histories of domestic spaces more universally. And they resonate keenly in the domestically-scaled gallery rooms at Sarah Scout Presents. Eskdale’s delicate and elusive drawings are rendered via a series of applied layers and surface gestures that thread and stretch over the paper. The drawings are sometimes evocative of spaces layered but also suggestive of time passing; at once constructing and erasing themselves on the surface of the paper.