Isn’t this entire, unending world constructed by the understanding out of incomprehensibility or chaos? [Schlegel]. Loosely Speaking makes a case for not-understanding. Language and coded behaviour can be restrictive in their clarity and this exhibition, curated by Pip Wallis, defies concrete logic in favour of indeterminacy.

Art Exhibition previously on at Gertrude Contemporary in Fitzroy-Collingwood precinct, Victoria, Australia.
From Saturday 23 March 2013 to Saturday 27 April 2013
Launch Friday 22 March 2013, 6-8pm

Adelle Mills, acting doing image

Published by anonymous on Monday 01 April 2013.
Contact the publisher.

In this exhibition the artists Ruth Buchanan, Sarah Crowest and Adelle Mills extend the gap between comprehension and confusion, unfolding the potential for subversion and new ways of knowing that exist in the abstract.

Featuring work by three women, Loosely Speaking considers the politics of language. In each of these artists’ work abstraction and indecipherability are used as a polemic strategy of resistance – one that defies the authoritarian logic of definition and upends the inherent phallocentrism of language.

The artists use sound, video and sculpture to perform quietly radical gestures that point to the uncertain yet highly productive space between subjects. Loosely Speaking occupies this space and replaces the logic of semiotics with poetics where metaphor is material, syntax is spatial strategy and composition becomes choreography.

The work of Berlin based New Zealand artist Ruth Buchanan fractures the logics of language and speech. In an intimate audio work Buchanan compares conversation to shifting weather patterns, and an instructional library notice becomes an absurd poem in a text work that laughs wryly at the instability of language. Her work in the exhibition features a fabric installation that translates poetic devices of metaphor and syntax into spatial material and gently mocks our failed attempts to corral the world into categories and certainties.

Melbourne based artist Sarah Crowest’s practice is driven by intuition. In her work she follows impulses beyond the realm of understanding in the faith that they will generate new ways of knowing. Crowest’s works are a form of social mapping, composed of scraps of fabric that the artist cuts from other people’s clothes at social events.

In a new video work Melbourne artist Adelle Mills lays bare the predetermined modes of action and communication that are dictated by the spaces we move through. In this work four bodies repeat each others’ gestures through a live video loop that reveals the ‘gap’ of interpretation, or misinterpretation, that lurks in all our interactions.