Sean Edwards / A PEEPHOLE TO SCULPT THE RANGE OF ACTION
WALES IN VENICE / Venice Biennale Special
The point of view of the Aesthetic critic PAOLO MENEGHETTI
In the Welsh exhibition visitors can find the installations of artist Sean Edwards. Aesthetically, he is interested in sculpting the everyday life, in order to connect it to the biographic. The installations have a very domestic “nuance”. We will recognize the “Gothic rainforest” of a tent, the tapestry, the screen intended for playing
He who sculpts lets the matter reach an arrangement, and while he configures it a little bit at a time. The abstraction of a messy block will become plastic, passing from itself to itself. The cinematographic image is in motion, although we perceive it in its refraining. The sculptor lets the matter have an arrangement while “re-entering” itself, through a plasticism. Director Tarkovsky wanted the images to show materially their refraining. We can say that his cinematography “sculpted” the time. Sean Edwards installs the cage of metal, however with a plasticism only refrained, through the frames in arch. In a bungalow, weather-beaten and disturbed, the reality of the personal memories (from a betting slip, to a badge of disability, from the obituary for a pool player to the design on the complimentary t-shirts, etc…) seems relying on the “understanding” of the visitors. They would have their gaze “connected in a boomerang”, trying to “browse” the diary where the artist will rest, in a very existentialist way. In addition, the arch-shaped frames are easily perceptible as film strips during playing time.
One video installation has the dominoes as its aesthetic theme. Symbolically, how much would we expect the odds to be of a specific combination?
That, according to the artist, will assume a coloration that can be defined as dryly yellowish. Is that an attempt to “sculpt” also
Symbolically, could the rest while reading be covered a mantle