24 Mar – 18 Apr 1992

Knowledge of the body through its surface, its layers, and through the uniforms that encase it form the basis of enquiry in the exhibition Vestiges. Each of the four artists included in the exhibition approach the body in distinctly different ways; often through trace impressions and absence. In Metamorphoses, Ruth Scheuing continues her alterations and transformations of men’s suits. “They were influenced by reading Ovid’s Metamorphoses, particularly stories about weavers who challenged through their acts of weaving: Arachne, Philomela, the daughters of Minyas and of course Penelope.” On another level Scheing investigates the tensions between two dimensional structures surfaces and the three dimensional organic body. Clothing as metaphor is the underlying premise of Alexandra Waschtschuk’s images. These latest paintings “involve superimposing landmark styles in painting since the turn of the century, onto silhouettes of female undergarments worn during the same time frame. The inherent purpose is to define and emphasize the confinement and invisibility of women in the history of modernist art practice.” In Absence Escapes Us, Mindy Miller examines feelings evoked by past work, to confront otherness and loss to trace them in the formation of her subject hood. “Monuments ensure the continuity and social differentiation of the social body. My monuments function differently on two counts; they are constructed out of materials which deteriorate (they do not resist death), and they do not memorialize any particular person, place, or event.” Painting on wet plaster supported on galvanized steel lathing invokes fragility and imperanance. Susan Feidel’s contribution to the exhibition consists of twelve images of young men and women in military dress. “I equate the vulnerability of these figures to the young front-liners in wartime. They also act as a critique of monumental sculpture and to the history of male representation in art, which customary glorified its warrior subjects.”