Dresser
Collaboration
Jeweldisplayjewel HS curated exhibition at Pataka Art + Museum Toi Gallery.Oct 2018
3 artists respond to the site of a dresser table,
As a space to reflect and where we can meet our own gaze. The Dresser can act as a control panel for daily life and somewhere which private selves and public image collide.
Judy Darragh's Dresser work subverts the burden and constraint of domestic life.
These pieces bear no signs of oppression as she flips the ball and chain adage making it much more than a throwaway comment. This work seems to reveal societies hidden desires and fetishes
Kristin D'Agostino's disPlay is indicative of darker times politically and in the world of take-away jewellery. It is a personal reminder to learn from failure and to stay vigilant. On a recent visit to rural Michigan, United States, D'Agostino discovered a deck of playing cards from the bankrupt Trump Plaza casino among the games at the family cabin. The deck became the subject of a heated debate as to its provenance and later defaced over a few beers. Appearing now transformed into necklaces for friends entrenched in the #RESIST movement.
Jennifer Laracy approaches the dresser as a shrine to the feminine where treasures are stashed and the implements and detritus of every day of life pile up. These intimate objects gather over time, clump and mingle with each other speaking of value, the body and how we see ourselves.
Jeweldisplayjewel HS curated exhibition at Pataka Art + Museum Toi Gallery.Oct 2018
3 artists respond to the site of a dresser table,
As a space to reflect and where we can meet our own gaze. The Dresser can act as a control panel for daily life and somewhere which private selves and public image collide.
Judy Darragh's Dresser work subverts the burden and constraint of domestic life.
These pieces bear no signs of oppression as she flips the ball and chain adage making it much more than a throwaway comment. This work seems to reveal societies hidden desires and fetishes
Kristin D'Agostino's disPlay is indicative of darker times politically and in the world of take-away jewellery. It is a personal reminder to learn from failure and to stay vigilant. On a recent visit to rural Michigan, United States, D'Agostino discovered a deck of playing cards from the bankrupt Trump Plaza casino among the games at the family cabin. The deck became the subject of a heated debate as to its provenance and later defaced over a few beers. Appearing now transformed into necklaces for friends entrenched in the #RESIST movement.
Jennifer Laracy approaches the dresser as a shrine to the feminine where treasures are stashed and the implements and detritus of every day of life pile up. These intimate objects gather over time, clump and mingle with each other speaking of value, the body and how we see ourselves.
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