Linda Leslie Brown, Porous, 2015, mixed media.
We are very pleased to welcome a guest writer, Heather Davis, to our blog, for her essay about Linda Leslie Brown‘s exhibition, More Holes. If you’re around this holiday weekend, stop by the gallery to see the exhibition before it closes this Sunday, May 29.
The forms emerge from and with the earth. Various materials—plastic, ceramic, wood, metal—are pressed and held together in strange, humorous, bodily shapes. Almost recognizable items emerge from the matrix, as odd characters that seem to have been compressed through the pressures of time and weight, emerging as if from the distant future. The detritus of consumer culture is here reworked to comment on its archaeological status to come. Linda Brown’s series More Holes evocatively produces these future fossils, implicitly asking, “What are we leaving behind? What will remain as our material legacy?”“Materials teach you things” Brown asserts. Working with discarded materials, culled from recycling bins and objects she finds on the ground, provokes questions not only about their shape, size, weight and structure, but about their lives, past and future. In rendering the objects unrecognizable, Brown creates abstract remnants of a society hell-bent on technological progress, heedless of the warnings that are all around us.
Despite the beauty of their forms and the way that they seem to beg to be touched, retracing the movements of Brown’s hand as she worked with the materials, there is something rather banal and sad in the waste. Immune to the processes of decomposition and cycles of transformation that govern our bodies and other organic matter, these objects remain stubbornly inert as if found in some future landfill: broken, cast aside, and then petrified. The objects begin to write our era into the geology of the earth.The brilliance of Brown’s artistic rendering is in provoking reflection on the meaning of all these objects, all this waste, while still providing holes. The porousness of the work suggests a future already in the process of being reworked. The holes refute ideas of masterful progression, instead creating a sense of the unfinished, while at the same time providing more surface and more entryways into the work. The sculptures look as if animals have already made a home in them, moving through the dense layers of plastic and metal and ceramic. Things that used to have a definitive form, that once had commercial value, appear instead to have become the dwellings of burrowing creatures and waste-consuming bacteria.
Brown’s work collapses the distinction between “nature” and “culture,” and her artworks become an offering that seem to have emerged from the future, eroded and weathered, complete with the markings of many other critters. The porosity of the works reminds us to be humble in the face of our technological advances and the negative sublime of ecological crisis. There is always a way through; there are always more holes.Heather Davis is currently a postdoctoral fellow at the Institute for the Arts and Humanities at the Pennsylvania State University where she researches the ethology of plastic and its links to petrocapitalism. She is the editor of Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies (Open Humanities Press, 2015) and Desire/Change: Contemporary Feminist Art in Canada (MAWA/McGill-Queen’s UP, forthcoming 2017). Her writing can be found at heathermdavis.com.