Charlotte Moth: Seeing while Moving In her first US solo exhibition, Charlotte Moth (b. 1978, Carshalton, UK, lives and works in Paris) trains her gaze on architecture, the buildings and spaces we occupy, and the mundane objects housed within them. The artist’s collection of analog photographs taken during her travels, which she calls the Travelogue, serves as a source for many of her works in sculpture and installation.
In Noting Thoughts (2011), Moth considers the relationship between image and text, as well as the fragmentary nature of memory itself. This group of tabletop assemblages consists of photographs and short text pieces marked by in-between spaces, absences, and omissions. A new slide work, For Claude Parent and Victor Pasmore (2016), examines the modernist Church of Sainte-Bernadette du Banlay in Nevers, France and the brutalist Apollo Pavilion in Peterlee, England, highlighting the buildings’ dramatic singularity. For Study for a 16mm Film (2011), she places a series of mirrors and other reflective objects on top of furniture and films them in a meditation on staging and display. Probing the conditions that influence our perception, Moth makes a metaphorical attempt to peek behind the surface of familiar things.
Gwenneth Boelens: At Odds Gwenneth Boelens (b. 1980 in Soest, NL, lives and works in Amsterdam) is concerned with perception, memory, and time. Her work in photography and sculpture attempts to suspend fleeting gestures and capture traces of movement. At Odds, Boelens’s first solo museum exhibition, features a group of recent photograms, wall works, weavings, floor sculptures, and an acoustic piece.
The large-scale photograms on view are made over an extended exposure period during which the light source is obstructed by bodies that move or carry different objects. The process of making becomes the foundation of the work; the resulting compositions are a product of both chance and deliberation. The sculptures and textile works in the exhibition expand on Boelens’s interest in trace and process. She emphasizes the methodical act of unthreading, or destabilizing, by using a forensic chemical that reveals latent fingerprints on the material. Translating temporality and thought into material form results in works situated at the threshold of abstraction, the inscription of, however fleeting, a moment in time.
Charlotte Moth: Seeing while Moving and Gwenneth Boelens: At Odds are curated by Henriette Huldisch, Curator, MIT List Visual Arts Center.
Exhibition 17 February - 16 April 2017. MIT List Visual Arts Center, 20 Ames Street, Building E15 - Cambridge, MA 02139 (United States of America). T +1 617 253 4400. Hours: Tuesday–Sunday 12–6pm, Thursday 12–8pm .