LIMINAL TIMELINE : joint exhibition by Pascale & Claude Chandler
A joint exhibition by Pascale and Claude Chandler
Opening reception: 12 February 2020, 5:30 pm to 8:00pm
12 - 29 February 2020
50 Buitenkant Street, Cnr Roeland & Buitenkant Street, Cape Town.
Gallery hours: 10 - 5 Mon to Friday, 10 - 1 Saturdays
or by appointment
StateoftheART is delighted to host LIMINAL TIMELINE, an exhibition by mother-and-son duo, Pascale and Claude Chandler. There is no stronger connection than mother and son, and it is our privilege to exhibit their work together professionally; a rare occurrence. LIMINAL TIMELINE showcases the duo’s artistic versatility in both medium and technique in a rich display of paintings on paper, and on canvas.
"We live in a liminal, dystopian world of unpredictability and change. A global blurring of right and wrong. How we treat our animals and how we position ourselves in the world as carers and protectors. The survival of our species hinges on power and industrial capitalism, constantly in need of more and new.
My work interrogates the position of man made structural cladding to legislate ownership and control. The iconography of the horse occupies a position of arbitration. A negotiator of suspended spaces. The Daumier inspired donkey navigates the fragility of our humanity and the transitory nature of life."
"A Liminal Timeline is the time between the 'what was' and the 'next.' It is a place of transition, waiting, and not knowing. I was born into remnants of an analogue world. I found myself being a part of the rapid change, a change to code and digitization. My work has always navigated this transformation and how we see the world and especially ourselves, etched in a web of code.
My new body of work is titled the ‘MagTape’ series: Magnetic Tape was, for the longest time, one of the most important vessels of information. It revolutionized sound, film and commerce in terms of recording, reproduction and broadcasting.
I have for most of my career worked on canvas, a robust material - also a vessel of information which was originally invented and used to wrap the dead. This hardy material has taken the thumps of my wooden stamps without fail. Like digital information, multitudes of erasing and reformatting never effects the vessels upon which the final image is broadcasted. Magnetic tape has the opposite effect, the quality starts deteriorating after multiple layers of re-recordings happen. To emulate this, I have started working on paper. I find myself having to re-evaluate my process, reminding myself of the fragility of the paper. Knowing that I’m only afforded a few mistakes before the ‘over recording’ destroys the quality of the transmission. I often leave visible the initial sketch, as if it were a fragile skeleton. The paper finds solitude encased behind glass, protected from the elements."