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19.06 2020 - 9.08 2020

Michal Fargo

Second Nature

MICHAL FARGO
Michal Fargos (1984) utstilling «Second Nature» er en serie flokkede keramiske objekter hvor grensen mellom organisk og syntetisk, forhistorisk og moderne flyter sammen. Strukturene i selve objektene er organiske, men overflatene er syntetiske, som skaper en nesten urovekkende dikotomi. Dette dikotomiske forholdet er en stor del av Fargos praksis, som hun utforsker med åpenhet og nysgjerrighet.

“Making an introduction between a geological representation and the synthetic allure of the velvet-like surface was a pleasant discovery, it has served my intent; the two complimented and enhanced one another and the encounter between illumination and the topography of the forms has induced the glamour and oddness of these forms.”

Fargo er opprinnelig fra Israel, men bor og arbeider i Berlin. Hun har en bachelor fra Bezalel Academy of Art and Design, Jerusalem 2011, og en master fra The Royal College of Art, London 2016.

MICHAL FARGO (b.1984)
“Second Nature” is a series of flocked ceramic objects, where the soft border between the organic and the synthetic, primal and contemporary is emphasized. The structures in the objects themselves are organic, but the surfaces are synthetic, which creates an almost uncanny dichotomy. This dichotomic ratio is a big part of Fargo’s practice, and she explores these with openness and curiosity. Fargo is originally from Israel, but lives and works in Berlin. She holds a bachelor’s degree from Bezalel Academy of Art and Design, Jerusalem 2011, and a master’s from The Royal College of Art, London 2016.

Text by Michal Fargo:
Second Nature is a suggestive body of work, considering elements of time-displacement, authenticity, and the borders between imitation and interpretation. The landscape is constructed by forms that are not utilitarian, yet could be considered ‘vessels’. These forms hint towards civilization but their exterior is camouflaged, pretending to serve as a mountainous terrain. The visuality of an almost wet, living creature, along with an opposing stiff and dry landscape is a question mark I was interested in grooming. Consumed with sentiment towards naivety on the one hand and questionable newfangled aesthetic on the other, I began developing a tactility and language that is an anomaly, alien and confusing.

Making an introduction between a geological representation and the synthetic allure of the velvetlike the surface was a pleasant discovery, it has served my intent; the two complemented and enhanced one another and the encounter between illumination and the topography of the forms has induced the glamour and oddness of these forms. I enjoy the “non-actual” gesture and employ it to put an emphasis on the soft border between organic and synthetic, primal, and contemporary. The body of work made for Second Nature is imbued with open ends, leaving assumptions as for the nature of the forms for the viewer to analyze.

My agenda in creating these works was sharing an imaginative realm with no use for a language, without a stutter, in the most organic way a sculptor can share a glimpse to her truth – I truly hope that this assembly can articulate itself.