Marian Drew’s latest work emerges from her contemplation of the speed of photographic representation and planetary change.
The resulting sculptural photographs on aluminium present blurred, vast spaces for asteroid-like forms that are both stationary and adrift. Extending upon Drew’s investigation into the innovation and exploration of representational and still-life photography, rock fruit flower alludes to our planet’s volatility.
These sculptural photographic works are intended for a wide audience in that they respond to the sociocultural phenomena of networked, algorithmic, screen based representational photography, now inseparable to everyday life. Perceptually stimulating and physically robust, these colourful works interact with users and their environment, presenting as backgrounds or subjects, for audience participants to perform, re-photograph, multiply and extend as ideas and images online.
The final artworks are suggestive, suspended in a state of becoming, encouraging intra-action between the viewer /photographic representation/object/surrounds. They also lend themselves to public interventions and semi-permanent installation, as well as private placements. They aim to pose questions about contemporary representation, drawing viewers through dynamic perceptual engagements, to think about that the spatial temporalities in the habitually accepted language of photography and introduce an alternative temporality inherent in the geological.
Image: Marian Drew, Coming home, 2022, dye-sublimation on aluminium, 30 x 40cm.
