Saturday, 20 October 2018
Situated in a imagined reality where hybridisation and cross-fertilisation is on hyper-speed; speculative ecological fiction borders a futuristic encounter with a post-wilderness - whilst grounded in the present condition of the human and non-human ontologies. The post-enlightenment hierarchical and mechanistic divisions of nature and culture are flattened in the eco-feminist position - a potential re-engagement with the alterity of the non-human while encapsulating notions of ever evolving ecological subjectivity.
- What are painting's limits in regards to being a site of resistance or activism? Can nature be represented without "mastery" (considering notions of feminist new materialism.)
- When thinking about the supposed "Death of Nature" in the "Anthropocene" - can the non-human hold an agency even with human intervention (regarding rewilding and the artificial/captive natures - and preformative natures.)
- Does the notion of 'post-human' suggest a romanticsed account of the pre-human condition, ultimately suggesting a romanticising of notions of past wilderness?
- Does the entanglement of the forest network combined with the ideas of cybernetic networks in relation to the vegetal world suggest a vision of a multi-dimensional hybridisation of technologies and the organic?
- How does the fungi and symbiogenic evolution play a part in re-imagining the forest?
Posted by Anna Garrett at 04:33
Tuesday, 21 August 2018
Saturday, 21 July 2018
Realm of the Superweeds, acrylic on board, 2018
Installed at the Goldsmiths MFA Interim Show, July 2018
Anna Garrett Artist
Photography - Liz Calvi
Photography - Liz Calvi
Posted by Anna Garrett at 07:43
Saturday, 7 July 2018
Tuesday, 12 June 2018
Friday, 18 May 2018
Sunday, 13 May 2018
Oma's Garden: Undomesticated Vessel, is a used kitchen bowl now residing outdoors - which has become a vessel for life. I am interested in deep ecology's notion of the non-hierarchical catagorisation, especially relating to 'weeds' and 'critters' in relation to the constructed notion of the 'garden'. The vessel has become a micro-ecology of it's own and is an exploration of the fragile transformation of culture to nature.
Posted by Anna Garrett at 08:45
Saturday, 12 May 2018
Monday 30 April – Tuesday 01 May
Private View - Monday 30 April, 6-9.30pm
Safehouse, 139 Copeland Road, Peckham, London, SE15 3SN
‘Efflorescence’ group exhibition presents recent work by current Goldsmiths MFA Fine Art students Liz Calvi, Anna Garrett, Camilla Hanney, Kaley Kronenberger and Svetlana Ochkovskaya, installed in the formerly derelict Safehouse, Peckham. Merging installation, sculpture, photography and mixed media, the artists subtly seduce, abject and transform, all sharing interest in the feminine ‘other’.
Works teeter between permanent and ephemeral, situating themselves in the grey area between these two tensions. The artists embody the notion of the trace, unfolding lost narratives and fragments of time through a visual language of associations.
'Efflorescence’ asserts the inevitable residue that remains long after the occurrence of an event or experience; touching upon fragile boundaries of real and imaginary, human and non-human, desire and disgust.
The show will open Monday 30 April, 6-9:30pm,
Tuesday 01 May, 11am-5pm.
For further information please email firstname.lastname@example.org
Posted by Anna Garrett at 08:14
Friday, 20 April 2018
Acrylic on canvas, installed at Hannah Peschar Sculpture Garden, 2017
Selected for group exhibition 'Women Shall Inherit the Earth', by feminist duo NOHAT
Panacea Museum, Bedford, PV 12 July, 6-9pm
Posted by Anna Garrett at 03:00
Saturday, 14 April 2018
Oma’s Garden: Dreams and Entanglement
Acrylic and charcoal on recycled cottons, 2018
As Alzheimer’s claims her conscious mind, Oma retreats into the realm of unconsciousness. She stays indoors now. Her once loved plants and cultivated rockeries are lost to weeds and entanglement. Nature and wilderness encroach the borders, lolloping leaves break their boundaries, species intertwine. As Oma withdraws in, the garden swells, real only in her mind and dreams. A woman of the land, she is reclaimed. She dances with the plants.
Oma’s Garden: Dreams and Entanglement encompasses an invasive drawing installation on recycled cottons. The pieces flirt with feminine overtones and monumentalise the undergrowth plant life.
Immersing herself in the garden for a series of days, Anna was drawn into the macro relationships of plants with agency: Birds Nest Fern, Rosemary and Rhododendron form caressing entanglements. A harmony. Playing with seduction: viscerality and tenderness of colour combine dreamlike yet toxic acrylic, with natural charcoal and materiality of line.
The work highlights the fragility of borders between nature and wilderness, cultivation and control, active and passive. Touching upon the Othering of nature- historically attributed to the feminine, opposed to civilisation - the garden becomes gendered and fights the constraints of patriarchal past. Currently researching toxic ecologies and trans-corporeal pollution, Anna is at the beginning of a research journey into plant consciousness, getting closer to the living vegetal environment, the resilience of Plant life. The organic and biological inform a new body of research, which will result in a sustainable painting practice.
Anna Garrett is currently studying MFA Fine Art, Goldsmiths, having graduated with a First Class Honours in BA Fine Art, from the University for the Creative Arts, Farnham, in 2014. She has exhibited in many group shows across the UK and internationally, including solo exhibitions glitter. garden. garbage., Take Courage Gallery, New Cross, London, 2015, and Fluore$cent, Glass Cloud Gallery, Bermondsey, London, 2014. Anna was selected as finalist for UKYA Festival Derby, 2016, and Zealous Art Prize, 2016. In 2017 the artist undertook two residencies, at Hannah Peschar Sculpture Garden, and collaboratively with artist Charlie Betts, at Watts Gallery Artist Village.
Posted by Anna Garrett at 06:07