Finbar Ward / Affective effects

Due mostre: personale di Finbar Ward dal titolo “Shed” e collettiva “Affective effects”.

Comunicato stampa

FINBAR WARD
SHED / SHED

introduction Sabine Gamper

Vernissage, 09.10.2018 19h
10.10. – 30.11.2018

Shed, a simple roofed structure used for garden storage, probably deriving from the word shade; to shed, to cast off, come off, allow to fall to the ground.
Finbar Ward (b.1990), the artist in residence at Galleria Doris Ghetta for September, spent the first two weeks of his time in Ortisei locating and documenting the structures created to house and protect log piles in the area. Ward was immediately absorbed by the individual approaches to these constructed shelters. Positioned proudly on the porch or in the garden, parked on the roadside or hidden in the woods, covered by corrugated iron or tarpaulin held down by rocks, these structures contain and conserve wood in all its variable, heaping forms. The care and respect given to the region’s traditionally symbolic material appears in unique approaches that suggest the hand of the maker and the structure’s immediate surroundings; Whether that be a familial, domestic influence, a robust, purposeful design or a polished, tourist facing aesthetic, each form is unparalleled.
Ward’s practice has long been focused on the non hierarchical use of material and much of this material exploration is seen in essential details of his work being made up of salvaged detritus from the studio floor. As an emblem of process, failure and decisions made, Ward treats the ‘off-cut’ with as much consideration as his intended result.
Throughout this residency, Ward has created a new body of work in which he has combined his interest in the surrounding systems for wood storage with his appreciation for the studio scraps that get swept aside. Founded in a series of observational drawings, Ward has designed and built structures to store and protect waste that he has collected from the studios and workshops of artists and makers in the area.
Shed/ Shed presents Ward’s appreciation of the skilled and beautiful woodwork crafted locally and communicates his shared respect for the material that shapes Ortisei, through the collection and protection of fragments that fell to the ground.
Rosie Reed

AFFECTIVE EFFECTS
Dejan Dukic
Julia Frank
Philipp Messner
Martina Steckholzer

curated by Sabine Gamper

Vernissage, 09.10.2018 19h
10.10. – 30.11.2018

The exhibition showcases the works of four artists in an exciting comparison of pictorial concepts such as materiality, corporeity and surface. The peculiarity of the artists’ different positions consists in an active interest for the physical processes of painting itself, in processual work on the surface of the picture or object, in the symbolic or iconic treatment of the ‘picture as body’. The artists concentrate on colour and pigment, seen as elements of matter and content that complete a painting’s surface, sometimes expanding it into the three-dimensional plane – penetrating its support or cutting loose from it and taking on a life of their own. Pigments and supports communicate layer by layer, combining to form a single painted object addressing the theme of its own independence. The materiality of colour is more or less tangible in the works presented here, but in some of them the supports and the pigments’ material properties become veritable tactile events.

This new interest for medium and corporeity in painting should be seen both in parallel with and in opposition to the extreme volatility of digital images that characterises our post-media age. It should be interpreted in terms of renewed attention to the significance of the corporeity of the support and the surface. It is interesting to note that the practice of all four artists is characterised by a broader concern with other techniques, thus transcending the boundaries of painting to encompass sculpture, performance, video and other artistic genres.