Flesh Marble Leaf and Twig

 

8eleven gallery

Toronto, 2015

 

Group exhibition

Stefanos Ziras, Eleni Papadimitriou, Derek Liddington

 

(Components of the exhibition were commissioned by: ISET , Contemporary Greek Art Institute)

 

We will all die. Our memory will live on through the stories of others. The clay will still stand for the living to view.

The work of Stefanos Ziras and Eleni Papadimitriou maps the creative process and public debates around the installation of sculptures, as well as the results of competitions aiming to change the urban fabric. Some of the examples of public art presented in their work were created, installed, and to this day remain in the public space, while some have been destroyed or withdrawn. Shown together, the potential, the relocated, the transitory or the ephemeral are shown to be not the exception, but the very modalities constituting our relationship with public space in the urban environment. The images develop an expansive and open archive of public art. The archive underlines the role political, social and institutional factors play in shaping relationships to public art, while also remaining sensitive to the complex influences of these factors in any given period.

Reflecting an interest in the impact of shared memory and the politics of the gesture on a more intimate scale, Flesh Marble Leaf and Twig presents new works by Toronto based artist Derek Liddington. In these works, Liddington worked with Chris Heller, Ulysses Castellanos and Cheyanne Turions to create a single object out of clay based on conversations that develop a shared memory. Forms are determined through a collaborative, and conversational exchange of rubbing, bending, pushing, clawing and kneading, rendering a physical record for the duration of the conversation. The collaborators, including the artist, become actors in a play, their performance captured in the crevices and gesture embossed on the surface of the clay. 100 pounds of clay is kneaded with the imperfect and often unsure traces of democratic marks. As the exhibition progresses the clay in the interior of the space will dry, compress and crack while the outdoor sculpture will be allowed to decay in response to the elements.