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|Michael Samuels, Solid State 4, 2013 G-Plan furniture, Clamps, Formica, Speaker elements, LED light|
Marion Scharmann and ROKEBY will present a two person installation at Art Cologne with artists Martina Sauter and Michael Samuels.
In bringing German Sauter and British Samuels’ distinct practices together certain correlations are revealed and potential new readings of either artists work suggested.
Both artists deal with memory in their constructions made from familiar material available in the world; Samuels utilizes Modernist furniture, most recently teak G-Plan from the 1950’s whilst Sauter juxtaposes film noir stills and photographs of objects from the ’40’s and ’50’s, temporally uniting each artists source material.
Deconstructing, reconfiguring and reframing elements of his selected furniture Samuels draws on the history of abstraction and investigates the formal, material and spatial qualities of sculpture. Sauter on the other hand conflates photography and cinema; re- photographing film stills captured on her television screen, the artist merges these with photographs shot in and around her home and studio. Released from their original source - in a similar gesture to Samuels’ liberating his material from past functional usage - Sauter’s film stills are merged with photographs of domestic objects and interiors to create uncanny situations. Similarly Samuels’ employment of man-made objects with universally familiar characteristics results in work that is disarmingly familiar and of this world and which relate physically to the human form and the space they inhabit.
Both artist’s investigate spacial qualities within domestic and architectural space and ask for the active - physical, visual and conceptual - engagement of the viewer. However whereas Sauter is more concerned with psychological space, Samuels is interested in the physical qualities of space and sculpture. Sauter selects film scenes, filled with suspense - they are often empty or scenes where something is about to or has just happened. In these instances the viewer is invited to imagine an event or situation, in others, actors are present but are typically relegated to the background or have their backs turned, in such cases the viewer becomes the witness or voyeur. Samuels asks for the active physical engagement of the viewer; he has repeatedly used light and translucent Perspex within his installations and sculptures, such inclusions add to the dialectic of presence and absence, highlighting the forms and infiltrating the viewer’s space.
We look forward to seeing you at the fair, booth number 11.3, A - 037
19.4.2013 - 21.4.2013, 12:00 - 20:00.
22.4.2013, 12:00 - 18:00.