Teddies and domesticity

Permindar’s exhibition is now installed in the gallery, and reflecting on her outcomes, the artist has become aware of a connection to domestic spaces. The exhibition is a contrast of domestic objects and non-domestic architecture. The high ceilings and glass wall are far from homely, and yet Permindar’s installations partly transform the gallery into a domestic space. There is a chair, table and curtain, and one teddy sits high on the wall, in his “nest”.

curtain2

Viewing her work with domesticity in mind, Permindar now views her ‘Black Curtain’ installation (above) as bedroom curtains. They are located in a side room off the main gallery that is, Permindar notes, approximately the size of a bedroom. The closed curtains give the space a cosy feel, as if one has settled “in for the evening”.

Now that public audiences are engaging with the work, Permindar is curious to see and hear their responses.  She has observed visitors to the exhibition seeing the teddies and remarking that they would like to “take one home”. It seems that the audience sees a connection to home too, wanting to relocate its components into their own domestic spaces.

teddies wall

If the teddies are home-making, it was not a decision that Permindar made consciously. She says that this theme has revealed itself to her in the final stages of installation. It is a theme that has emerged in many of her previous work too, both consciously and unconsciously. ‘Child’ (1993-98), ‘Sleep’ (1995-96), and ‘Insecurity’ (1995-98) all featured beds, rendered unhomely and unwelcoming by the stark, empty gallery spaces that surround them.

beds permindar
‘Tall Beds’, 1996. Installation view at Contemporary Art Centre, Mito Art Tower, Mito, Japan.

The realisation that domesticity is an ongoing theme has prompted Permindar to reconsider some of her plans for the further expansion of the exhibition. Some of the pieces that still remain in her studio have been cast in a new light. Viewing the remaining objects alongside one another, she now sees that they have transformed the studio into a room-like space. One piece that Permindar initially viewed as a tree has now become a hat-stand. She has also started to consider new installations that originate from domestic objects, including disassembled chairs and an unstable table. These additional objects, as well as some previous works, will be added to the exhibition over the next few weeks. This blog will report on the changes, and how they affect interpretations of the exhibition.

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