EMILY HARTLEY-SKUDDER

CURRENT: Additions + Alterations

My work indulges in the artificial ordinary and the faux domestic – think life-sized dolls houses, carpeted bathrooms and fake flowers; or a re-constructed memory of an interior that never existed. Decorative and ‘stock’ images are unashamedly drawn upon, suggestive of a kind of nostalgic commodification.

My process begins with collecting found objects and materials. The search for miniatures, toys and plastic receptacles has expanded into bathroom ceramics and snake-oil hygiene tools. I respond to these objects, assembling them as still lifes for photographs, paintings and readymade sculptures. My show-home installations explore the synthetic yet homely; the familiarly strange. 

I enjoy combining the peculiar with the banal, blurring what could be suspiciously pleasant or sexually suggestive. With their quaint objects and ‘delightful’ colours, my paintings become doubles: domestic scenes perfect for the domestic space, signaling the often unavoidable role of paintings as décor. Alongside inescapable art historical references, I hope to mix ingredients of humour, feminism, taste and desire, perhaps offering a playful subversion of a historically male-dominated art world.

Source: Emily Hartley-Skudder, 2020

YONA LEE

CURRENT: Succession

Yona wields steel pipes that enhances the natural architecture of an exhibition space. As a material, metal is conventionally used as a supporting material in the public sphere and is regarded as cold and industrial. However, the way Yona handles metal brings out the material’s feminine qualities which are emotional and light.  In her work, she also incorporates elements from urban and domestic spaces to challenge the audience’s expectations of the public gallery space. Through utilising these elements, people would feel a sense of familiarity to the work yet there is a strangeness which invites the viewer. Yona wants people to encounter her work where they do not expect to see it and that is where art functions in a fresh way.