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At Simian, Nina Canell has arrived with two ongoing bodies of work, reaching downwards through the space’s subterranean architecture to consider how composite materials, subtracted and refigured, disused and repurposed from their factory-made origins, might reveal energetic potential in acts of friction.
In industrial manufacturing lies the promise of a continuously reproducible sensory smoothness, as if the new thing is emerging from a primordial vacuum, sympathetic to touch [1], but resistant to weather, time, and contingency. There is no talk of an afterlife in this promise, or of the aberrant course the thing might take along its way. Is its lifespan measured by the beginning and end of its planned obsolescence? Or is it from the instant its raw materials are extracted, to the moment it is trapped as dust in the filaments of an ostrich feather?
The nature of such spatio-temporal processes is at the core of Nina Canell’s approach. Her sculptures are evinced in chance-based exchanges…
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Press Release
At Simian, Nina Canell has arrived with two ongoing bodies of work, reaching downwards through the space’s subterranean architecture to consider how composite materials, subtracted and refigured, disused and repurposed from their factory-made origins, might reveal energetic potential in acts of friction.
In industrial manufacturing lies the promise of a continuously reproducible sensory smoothness, as if the new thing is emerging from a primordial vacuum, sympathetic to touch [1], but resistant to weather, time, and contingency. There is no talk of an afterlife in this promise, or of the aberrant course the thing might take along its way. Is its lifespan measured by the beginning and end of its planned obsolescence? Or is it from the instant its raw materials are extracted, to the moment it is trapped as dust in the filaments of an ostrich feather?
The nature of such spatio-temporal processes is at the core of Nina Canell’s approach. Her sculptures are evinced in chance-based exchanges…
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