Charm Chime

Une exposition de Nicholas Gottlund et Suzanna Zak
commissariée par Shelter Press

Exposition du 29 octobre au 25 novembre 2015
Vernissage le jeudi 29 octobre à partir de 18h

ouvert les mercredis de 14h à 18h
et sur rendez-vous

I just finished making a batter for corn fritters. It’s now resting in the refrigerator. It was cobbled together from some of the usual ingredients - fresh corn and eggs, as well as some
irregular bits and pieces (leftovers) like green curry paste and garlic tops.
I was reminded of a friend’s dad who liked to say, “No one in this town is having this for dinner tonight!”. This declaration wasn’t intended to imply that what he had prepared that night was somehow spectacular, but rather that it was composed of such a mishmash of ingredients (perhaps even techniques) that a quick search online would not turn up such a concoction. Of course this could be said of many meals made by many people throughout human history. It is at it’s base a method of cooking that is rooted in the old adage, “waste not, want not.” In addition to the pragmatism of the aforementioned method there is an ingrained playfulness to it.

On your walk home you bump into an old friend, a good, old, friend. She’s young. You’re young. You walk side by side. Something catches her eye and toyour surprise you know what it is when you see it in her hand. It’s an enamel pin of a rose. You know this rose because you lost it two days
before on the same walk. She hands you the rose.

Tomorrow you go back to where the tire swing sways. Under the tire a dog spins around,
as enamored as you were. You watch this for maybe up to an hour, or at least until it starts to rain.

This act of the mise en place; the set-up, make ready, this game of durational arrangement which continually occurs for us in the studio is what has lead to the creation of a new collaborative series.  These pieces such as Charm (detail) are built from an array of materials sourced from the studio environment through the processes of sorting, separating, re-arrangement and balance. Some of the components within the sculpture may have previously appeared in other works. The sculpture is a sort of self-referential index, a scrolling list directing a downward cascade. At the same time the viewer can recognize a material constituent as pointing towards a separate use, setting or purpose.  This action of taking one thing for another allows us for a moment to be in two places at once.
We can daydream about the thing (soup can/chime, pin/flower, photograph/garden, stick/crate) - what it may have looked like it a more “raw” state, who paid what for it or it’s future status. In this moment however, it hangs suspended with it’s fellow objects from the ceiling,
fashioned into a charm for the room.