Status Quo, 2006
Jim Lambie
Photo: Michael Strasser / TBA21
Collection
Wooden doors, gloss paint, mirrors
84 x 212 x 183 cm
Made entirely from gaffer-tape (the quintessential make-do tool) Jim Lambie's stupefacient dance-floor becomes the theatrical base from which a horde of glossified doors - titled after prototypical dad rockers Status Quo - conjoined at contorted angles, pose in confusing seduction somewhere between Richard Serra and a stoners' squat, equally monumental and squalid. It's Lambie's approach to making that gives his work its edginess. His sculpture's high-polished ambitions are short-circuited from the start, establishing their own compositional economy. Their end game isn't flawless beauty but its approximation; his readymade materials have no pretence to being anything other than what they are. Through Lambie's negotiation, the common and neglected become re-valued as colour, form, mass and texture, precisely balanced and poised in new relational, fetishized structures. Re-fab is the spend-thrift's authenticity, as his objects are given makeovers with sticky-back plastic and hangover sparkle, elevated to the plateau of haute couture. – Excerpted from Patricia Ellis, "Glasgow Pomo", in: T-B A21 Collection Book
84 x 212 x 183 cm
Made entirely from gaffer-tape (the quintessential make-do tool) Jim Lambie's stupefacient dance-floor becomes the theatrical base from which a horde of glossified doors - titled after prototypical dad rockers Status Quo - conjoined at contorted angles, pose in confusing seduction somewhere between Richard Serra and a stoners' squat, equally monumental and squalid. It's Lambie's approach to making that gives his work its edginess. His sculpture's high-polished ambitions are short-circuited from the start, establishing their own compositional economy. Their end game isn't flawless beauty but its approximation; his readymade materials have no pretence to being anything other than what they are. Through Lambie's negotiation, the common and neglected become re-valued as colour, form, mass and texture, precisely balanced and poised in new relational, fetishized structures. Re-fab is the spend-thrift's authenticity, as his objects are given makeovers with sticky-back plastic and hangover sparkle, elevated to the plateau of haute couture. – Excerpted from Patricia Ellis, "Glasgow Pomo", in: T-B A21 Collection Book
Jim Lambie (born 1964 in Glagow, Scotland) a contemporary visual artist and was shortlisted for the 2005 Turner Prize with an installation called Mental Oyster. Jim Lambie graduated from the Glasgow School of Art (1990-1994) with a 2:1 Honours Bachelor of Arts degree. He lives and works in Glasgow, and also operates as a musician and DJ.
This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License.
This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License.