Project Room #12
None of these artists can be called a sculptress; each one uses the artistic medium within a multidisciplinary practice, expanding the definition of sculpture itself. Not treating it as a result but as a process, sculpture becomes a tool for building spatial environments of various kinds. The 2019 Project Rooms deal with issues of contemporary life and socio-cultural phenomena such as misogyny, apocalypse and national identity.
Rebecca Ackroyd (1987, UK) has a multifaceted art practice that encompasses sculpture, drawing and writing. Her interests meander between intimate personal narratives and a more collective experience that blends the brutality of the urban environment with the oneiric world. Her exhibitions often recall derelict spaces, recovering the role of the abandoned as a way of raising awareness and consciousness to the forgotten.
For her first exhibition in Milan, the London based artist presents a new large-scale installation, which takes over the entire space of the Fondazione Arnaldo Pomodoro. The artworks inhabit a walk-in polytunnel, a structure typically used for controlled gardening, which creates an enveloping site suspended between daydreaming and reality. She turns her attention to the construction of a more blended definition of home, one that embodies several paradoxes of today’s society as well as reflecting on the nostalgia we hold for bygone eras.
These works act as fragments of conversations, memories or stories, and like broken sentences have been cut short before the full picture emerges. Their translucence alludes to a ghostly echo of reality and oscillates between ideas of domesticity, 70s flower power and personal revelation. The therapy couch acts as a stand in site for mental excavation and self discovery, where the stitching of personal history over a prolonged time creates some kind of sense out of chaos. At a time when the scale of global tensions loom overwhelmingly Ackroyd reflects inwards and looks to more intimate notions of sanctuary, home and belonging.