Wednesday 27th April – Saturday 4th June 2022
Fold Gallery is proud to present DRAPE a multidisciplinary exhibition that explores notions of materiality, the aesthetics of migration and the processes of making and unmaking. The work in this show teeters between sculpture, painting and craft. With ceramics that occupy the space of sculptures, objects that occupy the space of paintings, there is a melting pot of materials and a sense of work in motion; that processes are constantly evolving.
The three artists in this exhibition create work that references the human body and the lived experience; investigating themes of movement and displacement, transition and isolation and an awareness of the visceral body in the process of making. These ideas are explored in the use and combinations of materials; clay is fired with metal, found objects are paired with resin; casts are shown with sewn fabric and steel. There is a sense that materials are transient and ever changing.
Nour Jaouda’s work evokes issues of movement and the politics of cultural amnesia. Through material deconstruction and the reinterpretation of traditional craftsmanship, she fractures narratives to elicit meaning. Meaning, in this case, relies on the process-bound event of its deconstruction, where the act of undoing and un-building becomes an addition rather negation to the work.
Marte Johnslien explores ideas of circumstantial sculpture, the use of ceramic materials and techniques that have the potential to create synthesis with larger contexts and thereby challenge common conceptions. Some of the contexts that she deals with are ecology, nature, perception and the application of systems and networks.
There is also a fixation with the materiality of colour, and clay’s ability to bond with other materials and how these materials react unpredictably in the high temperatures of the kiln.
Transformation has always been an important component in Andrea V. Wright’s practice, through materials or methodology. Utilising geometric and organic structural references, her work employs a hybrid of controlled elements: highly finished clean lines, spatial arrangements and compositions. The contrasting materials (leather, latex, fabric, rubber), paired or arranged with structures, are often a record of surfaces, of moments in time where works are developed within the site-specific context. These elements are woven into her practice suggesting a veiled architecture that reflects the body’s structure and stance.