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Jewels & Silver Objects. Bettina Speckner and David Clarke

Exhibition  /  Schmuck - MJW 2016  /  25 Feb 2016  -  18 Mar 2016
Published: 14.02.2016
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Intro
David Clarke and Bettina Speckner manipulate and redirect our understanding of the everyday object but they do so in very different ways.
 

Artist list

David Clarke, Bettina Speckner
The juxtaposition of these two bodies of work together is a rare and fresh way to contemplate and dissect the world around us. With a bow to history, craftsmanship and the formal aspects of the object, both artists make common still-life and landscapes uncommon. In a two-person exhibition, David Clarke and Bettina Speckner, present a select group of new work at Galerie Christian Pixis.

Opening: 25.Feb from 17:00 at 21:00h

Essay Bettina Speckner
It can be considered a radical move for an artist in the contemporary digital age to turn to a nineteenth century photographic technique to produce images; it is also a major evolution in Speckner’s process and approach to be able to direct the tintype imagery itself.
The artist’s newly acquired production technique is a romantic journey in and of itself. She travels into the Bavarian forest with a handmade camera obscura and a jerry-rigged portable darkroom to find her favorite stack of wood. She collects flowers on her way to the studio for her still life compositions, to complement her deliberate arrangements of otherwise ordinary objects—a glass, a set of keys, a laptop computer.
“A silent, melancholic, still result, but a thrill to see it appear,” The image is developed in the same location that it was taken, every step of the photographic process sharing the same continuous sweep of time, echoing the same single, still moment. / Sienna Patti


David Clarke. Text, Munich 2016.
The original object and material has been removed and replaced, its primary function has been corrupted. In consciously removing the original I’ve created space for new thinking and interpretation, which is intentionally not of the practical but is of the emotional. With casting pewter and at times mixing in lead a quiet and intimate way of making began.  Through this process I am over time waiting for a skin to develop, a void to form and for movement to literally cease.
These new objects have a direct relationship to the domestic environment, as all of the originals were highly functional, well-used objects from my mother’s house. In developing a ‘second skin’ through casting I have created a neutral surface on which audiences can project their own poignant narratives. / David Clarke

 

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