M A T H I L D A B E N N E T T - G R E E N E
Young female artist who creates tenuous installations that highlight the extent of material capability. Through a sense of impending movement, the dominant frailty in the work is celebrated and pushed to the brink of its proficiency. Engaged in correspondence with an opposing force, the physical enrolment of form reveals an evolution of material that almost contradicts itself. There is an archaeological disclose of fragility that manages to unearth a strength within its coseismic structure. Its capacity is just on the precipice of defeat, yet in some how a trust is invested into the stability of the work.
The sculptural culminations appear as it they attempt to function yet work against any system of contract. In exerting itself to breaking point, the work seems to reevaluate its weakness and reinstalls itself. This reworking of movement reveals the performativity of process that is integral to Bennett-Greene’s practise. From working in these devised methods of practicality, an enriched narrative between the physicality of the works emerge. One thats sits outside of familiarity and runs ajar to a former functionality. As this hybrid reform that is akin to empirical understanding buts sits within its own coercion.
In revealing this understanding of function, Bennett-Greene manipulates the ingrained positions of expectation and reforms this into a new context entirely. Stemming from an interest in the potential attachment to object, the sourcing of decided sentiment is imbedded within Bennett-Greene’s approach to material. Revealing the endless potential produced from an interaction with any thing. That unknown thing which has the potential to evolve into a regarded importance. The endless potential of hierarchy amongst object is prevalent in Bennett-Greene’s curation of space. In reversing the expected order of proposed value or function, shifts any ingrained expectation into a new estimate of capability.
Supporting disparities appear to be at the core of Bennett-Greene’s work. The force of tonnage occupied against a whimsical weightlessness. A tactility of dominant mass against a smaller navigation of object. The futility in direction that causes correspondence of suspension and appendage set up alongside undeviating standing. The exchange between permanence, of an affirmed constant set up with a fleeting placement. Through this Bennett-Greene’s work becomes an accumulation of gesture, often appearing humanised in the mimic of gestural action. This physical relation between body and form elevates the imposed physical negotiation of the work and stirs a new sense of familiarity, the body is in constant conversation it has to react and function to its proposed other.