Index , Selected Works,


Drawings, Containers, Supports

(wood, ceramic, steel, plaster, anti-foul paint, weed mat, duct tape, photocopy)


The work drawings, containers, supports plays on the notion of the archive as an unstable container for a series of types. The objects seem to each provide a strange function. Spindly, awkward legs support screen like surfaces – devices possibly used to survey or stabilise. Within the space, a bench-like object with rough, sharp edges and many feet allows for anthropomorphic associations, provoking absurdist humour to misdirect reading. drawings, containers, supports is a collection of red herrings, or the trace of an experiment.

Made to play on the tension between the want for a formal or functional narrative, the artwork provides neither, oscillating instead as a collection of waymarkers that lead to a series of endings. The objects within drawings, containers, supports potentially act more as orchestrated tones. Each part has the ability to be used as a ‘key’ to gain access to the installation as a whole. So when an interlocutor experiences the installation, they are confronted with a series of autonomous documents, navigating within the work to determine just how it might be read. The audience and artist are both searching for something, and a forced to negotiate, if only in a miniscule, undetectable way, their own preconditioned ideas around art practices.

Jayce Salloum talks about how borders are “physical and metaphorical, imaginary and ontological” within his practice, and this is relevant to drawings, containers, supports as it relates to language as a constructed space (2006, 188). In this way the idea of borders signify attempts to classify and organise communication around the artwork. They are an imposed structure on an archive of misfiring, miscommunication, and misinformation. As Salloum reminds us: “When meaning slips around and through borders, frontiers are crossed and new associations are made; when they can’t, the body public disintegrates” (188). I don’t aim to suggest a way to navigate this difficult terrain, rather offer an awareness of the productive space that working ambiguously between multiple art narratives can create for artists.

Installed as part of Along The Transect Line, a series of exhibitions collectively titled The Transect Line Project.

Curated by Chelsea Rothbart


Salloum, Jayce. “Sans titre/Untitled: The Video Installation as an Active Archive.” In The Archive, edited by Charles Merewether, 20. Cambridge, Mass: Whitechapel, 2006

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Drawings, Containers, Supports

Drawings, containers, supports, studio view 2 2013


Drawings, Containers, Supports

Drawings, containers, supports, studio view 1 2013


Drawings, Containers, Supports

Drawings, containers, supports, detail 2 2013


Drawings, Containers, Supports

Drawings, containers, supports, detail 1 2013