Photo: Lucy Rock
View of the exhibition “Sleepers” of Lucy Rock
For Lucy Rock, the construction sites will follow, but do not look the same. With this topic it listens for quelquesannées, she explores all the features of the built environment that the assumption that the image is a constructed, which leads her to question his do to it on the artist at work.
In the small hall for Instance, several components fit together, one inside the other and respond in a fruitful dialogue, which will materials to representations, according to a mode installatif highly studied. Different structures are the support of pictures referring to the construction observed by a Rock during an artist residency in Japan.
This temporary exile is not the first in the career of the artist, who was born in France and now residing in Montreal. His arrival here coincided with the great interior building site which has transformed the building of concrete on the avenue De Gaspé, where she exhibited today and where, a few floors up, she has her workshop. Therefore, his approach seems to be related to the working conditions of the artist, inseparable of urban change ; the news still recall how real-estate speculation plays a role in this phenomenon, whose impacts on communities are proven.
These considerations remain in the background in the work of the phd in studies and practices of arts from the UQAM, for which, however, it is important to break the apparent neutrality of the white cube of the exhibition room. By its interventions in situ, the artist’s strength is indeed astonishing discoveries in a place small enough so metamorphosed by a new spatial dynamic. A section of wall is particularly apparent in the heart of the piece, and its open ends make visible its frame as its potential space of storage, a storage place that the artist could have arranged for his or her needs.
The mention of his area of work is in support of the views of construction site captured in Japan, and elsewhere also, scenes that she has carefully monitored every day. The one and the other of the process are thus closely echo. Plywood, glass, plexiglass, and gypsum are used as surfaces of emergence for photos showing concrete foundations, scaffolding or structures in elevation. In the operative mode of Rock images and their medium to comment on each other, with feats formal appeal to often by their visual strength and the quality of their execution. A photo of Styrofoam hanging out in a ground wave can be found, for example, printed on real pieces of this insulation, here suspended in a cascade. So presented, the image is resistant to the standardization that governs the materials of construction. The artist does well understand that his photographs do not meet the same performance requirements.
The uniformity of materials applies to most work sites, but the situation in nippon has brought to Boulder the opportunity to seize the special features, as the essence of the wood used, colour more orange. The artist retains mostly the general spirit of the project, including the set design of the gestures and tools is based on a logic that is often impenetrable for the neophyte. As in his installation which multiplies the components, every thing has its reason to be, while pretending to rest in waiting, without having a specific function.
Mise en abyme
Also, the production of Rock convinces us that the scenes of the site are perfect pretexts to comments supported. Photographer seasoned, the artist reveals all the formal beauty of the geometry of the lines, compositions, enriched by the contours of light. The artist has framed his images from the inside, from a window, and outside, adding to the different crossings that underlie his work. This is also the case in the views of his exhibition at the palais of paris, Tasaki, where she made her residence in the autumn, which are integrated to the installation. They pass on the surface of a plywood gross, thanks to the rotation of a carousel to slides. Rock, can you see, has played with the light and the architectural components of the place, marked by broad windows and a terrace.
This mise en abyme, of the exhibition in the exhibition, serves doubly. The site, it is also one of the artist’s work and the revelation of his process. More than that, it is the confusion that likes to renew Rock between the utilitarian and the useless. The images of his expo could be a feature documentary which is here relegated to the background. In the gallery, a paper rolled on the ground as well as pipes of copper supported on the wall pass on the other materials to the minimalist sculptures. This same indeterminacy operates in a series of images printed on plexiglass, is curious in “crafts” just spotted in the streets in Korea. Present for practical reasons only known to their authors, these rafistolages appeared, in the eyes of the artist, such as ready-made, real works of art.
From Lucie Rock, Occurrence. Art space and test contemporary, 5455, avenue De Gaspé, espace 108, until 2 march.