Samanthas artwork explores collective human memory through mundane found materials taken from the city streets
Samanthas artwork explores collective human memory through mundane found materials taken from the city streets, which are placed on pedestals and surrounded by metal fencing. These are the same materials that are used in the installation. The artist has used the metal as a material for a number of things, from mirrors and metal studs to a screen and a wicker chair. The sudden appearance of these everyday objects in the gallery space creates a sense of urgency that is mirrored in the dramatic nature of the work.The film begins with a photograph of a group of children, most of them wearing white shirts, standing in a park. The camera shows them from a high place, where they are surrounded by a tall fence. The kids are apparently aware that the camera is there. But the camera is not allowed to penetrate the fence, which has a camera inside. The fence is thus the camera and not the other way around, which is the case with the film.The fence and the children are two of the most intimate images in the film, and the only ones that appear to be spontaneous. They are the most tender and the most vulnerable. The fence is a tribute to the children, a gesture of friendship and a playful challenge to the fences authority. The children are seen from a distance, but their presence creates a sense of distance and distance that is profound. In contrast, the camera is always at the edge of the fence, which is also a barrier. The distance between the fence and the children becomes a metaphor for the distance between the photographer and his subjects.The fence is also a barrier, a sign of separation. It is also a barrier to communication. It is not a barrier to a discussion, but a barrier to the possibility of a dialogue. The fence is a barrier to conversation, a distance of silence. It is the barrier that divides us, which is why we are united only by the fence, and not by any other barrier.
. In a series of photographs taken in the streets of a Jakarta neighborhood, the artist photographed the remnants of discarded plastic bags and empty plastic bottles, which he then reassembled into sculptures. These pieces, which were assembled into a series of objects that collectively stood for a collective unconscious, served as both proof and critique of the very existence of a collective, collective memory.The exhibition also included a small but provocative video that documents the artists attempts to reassemble the fragments of the trash. In one scene, a woman is seen carefully arranging her own trash in a manner that resembles the ritual of a family. The video shows her doing the same with the plastic bags that the artist had collected in the streets of Jakarta. The woman is then shown with a plastic bag that is held to her mouth like a knife. This gesture is perhaps a reflection of the fact that this plastic bag is no longer a plastic bag but is, instead, a small metal table that the artist had found on the street. It is the table that will become the basis for an untitled work, which will be installed in the gallery next year. The work itself is an expression of the collective memory of a city, and in this exhibition, the works capacity to be both a symbol and a testimony to the collective memory of an entire country was realized.
Samanthas artwork explores collective human memory through mundane found materials taken from the city streets. The works consisted of random objects that had been desecrated in the course of daily life by passersby. The artist used a variety of materials, including the usual household stuff—staples, trash bags, newspapers, paper, and so on. Her subjects, too, included everyday objects such as a broken plastic cup, a broken tire, a broken telephone pole, and a brick. The display of the objects in the gallery space was part of the work. In addition, the artist had constructed a wooden pallet from pieces of wood and arranged it on the floor. On top of this wooden pallet, she placed a small wooden pedestal, like a traditional Chinese box, that could be picked up and used as a stand. A group of people could look on the pedestal and observe the work of art that had been made by them. In this way, the work was a reflection on the artists own relationship to the everyday. In the next room, the artist had installed a large white wooden crate with a wooden floor. The crate was illuminated from above, and visitors could look inside and see a large number of objects. The crate contained a small wooden doll with a pair of boots attached to the top. The upper part of the crate had been torn away to expose the contents inside. The doll was attached to the bottom of the crate, and the two parts of the doll were attached to each other so that they could be moved around, and the doll became a sculpture. The crate was empty, and the doll remained in the crate, which was covered with newspapers. The objects, which had been made from the same materials as the objects in the work in the gallery, became the same objects as the work. The work also reflected on the relationship between art and everyday life. In the same way that the artists work is a reflection on the everyday, the viewer can also see it as a reflection on the everyday.
Samanthas artwork explores collective human memory through mundane found materials taken from the city streets. The artist made use of the same materials as in her earlier works, but now she was using a digital technology that allowed her to manipulate the images and the materials to create a dynamic composition. In this case, the process resulted in the production of a series of photographs that were printed in a single image, which is then enlarged and transferred to a computer. The resulting images are of the cityscape seen from a great distance, in which the edges of buildings and of the street are blurred. The images are divided into three groups of ten photographs, each with a different perspective, so that each of the ten photographs in a group shows a different vantage point from which the images are taken. For example, a photo taken from the street in the middle of the city, a vantage point from which the buildings and the street can be seen clearly, suggests the position of the buildings and the street from which the photograph is taken. A photo taken from the same vantage point, a point from which the buildings and the street can be seen as they are in the distance, further emphasizes the different vantage points. The images are therefore always in the process of being perceived, and in this sense they serve as a reminder that all photography is a subjective process.In the process of creating these images, the artist also composed a series of objects that would be found in any home: kitchen utensils, kitchen cabinets, and so on. These objects are arranged in a way that suggests the use of an ordinary kitchen tool. In this way, the work also contributes to the problem of collective memory, a problem that is not new to contemporary art. In her previous works, the artist used everyday objects as materials for her own artistic practice. Here, the objects are used as found objects and are transformed by the artist into images that are repeated and reenacted in different ways. The work also refers to the way that everyday objects are often reused.
Samanthas artwork explores collective human memory through mundane found materials taken from the city streets. The artist has created sculptures that look like old shoes, which he purchased in the streets of Mumbai. The pieces are made of iron and clay, and they have been dyed a rich, almost earthy brown. The pieces are like architectural remnants, isolated from any context, and displayed in an environment that recalls the site of ancient ruins.The work also explores the ways in which memory is encoded. For example, in the series Where the Wild Things Are, 2017, four sculptures are made of iron, wood, and clay. In the center of the work, a sculpture of a small, leafy plant is encircled by a single iron rod. The work suggests a scene from a childrens drawing of a house, or perhaps a young childrens drawing of a house. In the foreground, a figure of a man is partially obscured by a small iron rod. The figure stands on a wooden stool. A single iron rod stands next to the man. The picture has been partially torn from its frame, revealing the figure in the foreground. The red clay seems to have been placed on the frame as a kind of framing element. In the foreground, a man is partially obscured by a wooden stool. The piece reminds us that the window frame is an important element in the composition of the work. The window frame also recalls the window of the gallery, which is also a frame. This frame holds the sculpture, which sits on the floor, and also serves as a frame for the sculpture. The frame is made of iron, which recalls the frame of the gallery.The other works in the exhibition, titled Where the Wild Things Are, 2017, were created with clay, sand, and clay, and are made of iron. They are hung on the wall, and they look like old shoes. The pieces are made of clay, and they are stained a rich brown.