Rust-en-Vrede Gallery

Current Exhibitions: Art Social:Quality Time, Annelie Janse van Rensburg, Barry van der Westhuizen, Garth Meyer and Ian Glenny (1952-2023)

Make Up / My Mind

Karin Lijnes

5 April – 4 May 2016

“In her curiosity Karin Lijnes is driven to explore the effect of consumer culture on our experience of the world. She has drawn attention to the things that we use usually only subliminally aware of their significance… She leaves us without answers but a greater understanding of the questions we need to ask.” (Wilma Cruise 2010)

In my work I examine, expand and negotiate the concept of female identity within a rampant consumer culture through the use of a wide range of materials, images and processes.

The works comprise of ceramic and neon installations, a cluster of works on paper and slip cast jik bottles. The materials used are mainly clay, found objects such as feathers, Old master pages, gold leaf and Neon lights.

The porcelain heads are derived from a mould of a mould and therefore conceptually underscore notions of same-ness and stereotypes associated with female identity. The heads are in various shades of red and relate to names of lipstick shades taken from fashion houses such as Mac, Dolce&Gabbana, and Chanel: Pirate, Fatale, Rebel, Fearless, Fierce and Red Dragon (as if wearing lipstick can make women invincible even in these times of unacceptable levels of gender-based violence). The names of the lipstick shades are scripted in five neon lights, also in various shades of pinks and reds.

The paper works include selected pieces from the Beautiful Rocket Series, from the doppels Series and Gilded Subtext Series. This reflects my eclectic approach also seen in the use of clay in dialogue/talking to found materials and objects. Many of these use the Rorschach method, which is placing inks, lipstick, nailpolish or paint blobs and pressing into the fold of a piece of paper. It is the unexpected juxtapositions of the familiar and the strange that are interesting to me and set up interactions or what Rosi Braidotti calls, ‘surface intensities’ or becomings.

The installation of slip cast porcelain bottles appropriates the readymade object, brands and cultural icons. The process of casting is slow and laborious in contradistinction to the manufacture of its plastic counterpart. Further, each brand logo hand painted with oxides, brings the simplest of discarded household objects, back to the level of awareness.

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