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On the entrance to Ane Graff’s exhibition “Molecular Dramas,” one encounters a sequence of delicate silks, streaked and splashed with pink, black, pink, and purple. Entitled BBB (The Blood Mind Barrier) II, III and IV, all 2022, the hanging textiles evoke photographs of bandages, hinting on the oozing of illnesses, the unraveling narrative of an sickness. The works recall to mind corporeal canvases from the peak of the AIDS epidemic by artists akin to Chysanne Stathacos and Carolee Schneemann, however in Graff’s work, it’s the molecules that do the speaking. Her inventive apply has lengthy centered on the interdependent and traditionally entangled relationship of our bodies and chemical compounds. On this exhibition, she pays homage to feminist-materialist theories that understand the physique as porous and consistently evolving; the works appear fragile and allude to types of chemical imbalance that transcend class.
In the primary house, three vast goblets are rigorously positioned on seventeenth-century tables solid in white plaster. Protected by bell jars, these vessels comprise diaphanous layers of chemical concoctions that blossom into intricate, probably poisonous petri dishes. The items, titled The Goblets (Combined Dementia), The Goblets (Panic Dysfunction), and The Goblets (Medical Melancholy), all 2022, discover the interconnected narratives of the supplies surrounding us and our our bodies. As an illustration, The Goblets (Melancholy) incorporates a powdered newspaper asserting the 2008 monetary collapse, alongside fruit chews, tunnel mud, and zits treatment. Supplementing every sculpture is an oil-stick-and-acrylic portray that shares its title (all 2023). On these surfaces, printed textual content delves into the signs of the titular issues, advocating for a extra holistic strategy to therapeutic.
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