Fiona Curran works with the poetics, the politics and the materialities of landscape space via the making of objects for exhibition and site-related commissions.
Curran presents landscapes that are broken down into views on the one hand and their physical/material presence on the other. Images and objects – painted, found, handmade and fabricated – sit alongside one another in differing modes of display that explore notions of the original and the copy, the natural and the artificial, the real and the imagined, and the role of technology in mediating between these positions. Using processes of editing, splicing, collage and assemblage, elements of the natural world are interspersed with representations of nature drawn from the fine and decorative arts.
Works engage with unseen but sensed geographies through the use of pattern and repetition exploring notions of landscape space and landscape time, once measured through the impact of natural cycles and planetary shifts, now equally measured through digital time and the migratory flows of transnational capital. There is a strong tactile element at play that works to both mimic and counter the saturated spaces of screen technologies with their heightened colour and sleek, luminous surfaces. Objects and materials are stacked, draped, hung and folded often using the vertical and the horizontal planes in order to disrupt viewing positions and to question the different cultural values traditionally ascribed to art forms and materials across painting, sculpture and textiles.
Curran’s public commissions explore the histories of their site referencing historical and contemporary conditions and representations of power, the politics of land use and alternative ecologies.
‘Curran’s work in its meditative boredoms and sickly fatigue is as much about forgetting we are already in the slow decline of the world reminding us that catastrophes may manifest suddenly, but the forces that cause them to snap build slowly in the sands of time beneath our feet.’
‘The woozy, febrile, tropical effect is helped by the fronds and palm trees, both real and replica… tune in to Curran’s atmosphere of artifice and exoticism, the languorous surfeit of surface.’