Press Release...Every day, twice a day, a woman leaves food for the birds on Duke Street. This ritual of crumbs brings an apocalyptic cloud of pigeons wheeling and swarming to the pavement. Awe and disgust mingle together as the birds flock. Twitching and bobbing to in a knot of feeding feathers and providing an experience where disgust and awe at the spectacle manifest themselves in equal measure. It was observing this daily occurrence that provided the departure point for Cheryl Field’s show “Phylum & Genus”.
Phylum & Genus is the culmination of Cheryl Field’s month-long residency at Market Gallery, utilising new kinetic sculptures that create a complex alchemy of sublime and abject sensory experiences. Field’s work rises from a preoccupation with biology and perception; combining conceptual rigour with a playful, experimental process to produce kinetic installations that both set and confound expectations through the hypnotic poetry of motion. During this residency she has cannibalised the flotsam and jetsam of discarded objects, drawn from charity shops and the street to be subsumed into her deft and humorous work, drawing parallels between the work she creates and the strange transcendent moments observable in the urban space.
Although not intended as scientific experiments, she invokes the vernacular of science to build quasi-narratives that juxtapose the authoritative and absurd, inviting the viewers to triangulate their own position in relation to the multiple, indefinable truths that personal perception invites us to draw from the complexities manifest in the work.
Phylum & Genus is the culmination of Cheryl Field’s month-long residency at Market Gallery, utilising new kinetic sculptures that create a complex alchemy of sublime and abject sensory experiences. Field’s work rises from a preoccupation with biology and perception; combining conceptual rigour with a playful, experimental process to produce kinetic installations that both set and confound expectations through the hypnotic poetry of motion. During this residency she has cannibalised the flotsam and jetsam of discarded objects, drawn from charity shops and the street to be subsumed into her deft and humorous work, drawing parallels between the work she creates and the strange transcendent moments observable in the urban space.
Although not intended as scientific experiments, she invokes the vernacular of science to build quasi-narratives that juxtapose the authoritative and absurd, inviting the viewers to triangulate their own position in relation to the multiple, indefinable truths that personal perception invites us to draw from the complexities manifest in the work.
Rose Ruane September 2008
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