Tilting planet

sarah-sze-tilting-planet.jpgWalking into Victoria Miro gallery yesterday was like stepping in a children’s playground. I had felt that delightful sensation when entering my nephew’s bedroom a while back, smiling warm-heartedly at the elaborated constructions on the carpet, home to the legomen, now under attack by the plastic beasts. The war zone was spilling under and over the bed, reaching the heights of Hugo’s desk and the darkest corners of the bedroom.

Sarah Sze’s installation Tilting Planet (upstairs gallery) is made with everyday objects, from safety pins to electrical fans to polished black-and-white pebbles, collated into a carefully crafted assemblage that, oddly, resembles some familiar place – our own world. Sarah does not recreate bluntly though, but in a symbolical fashion, using concepts that my nephew would innocently form in his own creations. In Tilting Planet (campfire) a pile of wood is illuminated by a desk-lamp. A matchbox is placed next to it with a bottle of water and a A4 sheet of paper. Red and yellow strings of wool undulate on the floor and a beam of red threads flashes from the centre-piece – her idea of a fire is dangerously hovering over us. Nathan actually goes further and assimilates the evian bottle to a lake nearby, the meandering wool strings to some forest paths and suddenly the whole picture shifts from state of urgency to poetic meditation. We marvel at some tiny bone structures made of toothpicks, at some weird kiwi-like furry balls and at the endlessly rotating shadow of a ballerina, and keep stepping on the installation space as we wander around, destroying a bit of Sarah’s world in our wake. One thing is certain, hers was definitely not made in 7 days.



~ by lavivette on September 3, 2007.

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