"moulded from inside into the shape of their existence"
Rilke, Rainer Maria, Requiem for a Friend, 1908
The majesty of the least is celebrated by nature and synthesized in a matrix of particle allurement to develop forms with integrity of design and structural certitude. We recognize these structures of harmonious design; they are integral to our physiology, thereby becoming the basis of our aesthetic judgement. The collectively entitled plaster works, are studies of matter in collaboratively enhanced modes of being. Within these sanctums, ambiguous figurative forms lay dormant. They are bound in their repose, combined in their subtleties, shrouded in their encasements. "The roar of their bodies," has been silenced however we hear their "genetic echo." Their individual states, now aggregated, display a grandeur of primordial architect, a wondrous unity that sends whispered messages of eternal affiliation.
"Another oneness hidden inside a oneness for which this oneness is just a covering."
As viewers we remove the culmination of time and history to reveal vestige remnants of ourselves; acknowledging our connection, our lineage, our descent - of human extraction.
1. Casper, Claudia, The Reconstruction. (pg.13)
2. Casper, Claudia, The Reconstruction. (pg.162)
3. Casper, Claudia, The Reconstruction. (pg. 169)
Laura M. Hair's 'chorus of forms' emerge in liminal spaces, where the invisible penetrates the skin of life. Her refined linear sensitivity for the human body comes from years of drawing the figure. Bone to muscle, muscle to skin are thresholds for the act of transformation. Here, Hair shapes a topograhy of 'the body as witness' - a powerful repository for the graphic action of remembering from the inside out."
Maralynn Cherry, Curator, Visual Arts of Clarington