ARTISTS
Domestic Vernacular
The show is called 鈥淒omestic Vernacular鈥�. I originally chose the word 鈥渧ernacular鈥� for its use in describing an architectural style local to a specific geographic region. A type of folk-style building commonly referred too as 鈥淓nglish Vernacular鈥�. Architecture acts as a kind of language, a psycho-geographical semiotic code encrypted into landscape, flaneurism and public space.
The vernacular is synonymous to colloquial. Folkloric, or art outside the public authorised realm, is usually restricted to the private home. The domestic is a fitting comparison - the realm of the woman, or child, it also sits outside of the monumental or governing sphere. It is here that we find the purest forms of expression, unbridled by ideology, expressions of 鈥渟oft-power鈥�.
I began thinking about the domestic as a site of psychic visual expression. I wanted a show that conjured the feelings of both Dorothea Tanning鈥檚 Room 101 and Gregor Schneider鈥檚 Haus u r.. Both works are large-scale installations that play with the home, or the familiar, as a place (palace) of repression and architectonic fear. Any gendered connotation to 鈥淒omestic鈥� is largely coincidental: the domestic space, to me, is where our personal vernacular is most often felt, and while it is traditionally a matriarchal sphere, this is no way prescriptive.
Domestic Vernacular is a mixed-media show of painting, sculpture and photography that examines how visual language, both figurative and realistic, becomes a vernacular for artists. How images become common, quaint, and easily communicable but misunderstood or romanticised, from an outsider's perspective. Vernacular has emerged in art styles once again as a form of resistance against homogeny = the incorporation of difference as a method of suppression. This reflects the typological language of art theory as much as it pertains to style, taste and denominators of distaste: kitsch, vulgar, naff.
How do we project our internal selves onto our built surroundings, and how does this distort said structures? One medium is the 鈥渞etro鈥� or vintage aesthetic, a vernacular that is now dated, which is reclaimed by artists in both figurative painting and installation work. This retroactive vernacular is transformed - it glitches and replicates, imitating the language of technocracy by morphing itself with established codes and structures. A domestic vernacular for the digital age.
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The show is called 鈥淒omestic Vernacular鈥�. I originally chose the word 鈥渧ernacular鈥� for its use in describing an architectural style local to a specific geographic region. A type of folk-style building commonly referred too as 鈥淓nglish Vernacular鈥�. Architecture acts as a kind of language, a psycho-geographical semiotic code encrypted into landscape, flaneurism and public space.
The vernacular is synonymous to colloquial. Folkloric, or art outside the public authorised realm, is usually restricted to the private home. The domestic is a fitting comparison - the realm of the woman, or child, it also sits outside of the monumental or governing sphere. It is here that we find the purest forms of expression, unbridled by ideology, expressions of 鈥渟oft-power鈥�.
I began thinking about the domestic as a site of psychic visual expression. I wanted a show that conjured the feelings of both Dorothea Tanning鈥檚 Room 101 and Gregor Schneider鈥檚 Haus u r.. Both works are large-scale installations that play with the home, or the familiar, as a place (palace) of repression and architectonic fear. Any gendered connotation to 鈥淒omestic鈥� is largely coincidental: the domestic space, to me, is where our personal vernacular is most often felt, and while it is traditionally a matriarchal sphere, this is no way prescriptive.
Domestic Vernacular is a mixed-media show of painting, sculpture and photography that examines how visual language, both figurative and realistic, becomes a vernacular for artists. How images become common, quaint, and easily communicable but misunderstood or romanticised, from an outsider's perspective. Vernacular has emerged in art styles once again as a form of resistance against homogeny = the incorporation of difference as a method of suppression. This reflects the typological language of art theory as much as it pertains to style, taste and denominators of distaste: kitsch, vulgar, naff.
How do we project our internal selves onto our built surroundings, and how does this distort said structures? One medium is the 鈥渞etro鈥� or vintage aesthetic, a vernacular that is now dated, which is reclaimed by artists in both figurative painting and installation work. This retroactive vernacular is transformed - it glitches and replicates, imitating the language of technocracy by morphing itself with established codes and structures. A domestic vernacular for the digital age.
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