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ami clarke
Page 1 | 2 | Biography
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Folly (2007).2.3m x 1.7m x 1.9m black painted mdf.
Folly employs forms that reference both Modernist architecture, and minimalist artists such as Robert Morris and Donald Judd. It reminds me also of the architecture of the gun emplacements and blockhouses of the Siegfried line along the Atlantic wall, and the pill-boxes to be found in the UK.
Folly acts as a puzzle that proliferates at each new showing, gradually filling the space it inhabits. The ground plan for the work is taken from a Persian pattern extruded through a stacking system that employs just three elements - a square, a diamond, and a triangle. Folly can be walked through and sat upon, and visitors are encouraged to re-arrange the configuration. I have likened it to an architectural folly in its title.
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90 degrees (2007)
6 x clear acrylic slabs – varying colours, stacked to attempt a 90 degree turn, unsuccessfully.
28 Luminarc smoked glass coffee mugs, stacked in groups.
Each module – acrylic slab – 60cms x 44cms x 5cms.
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Un-limited - MOT gallery London 2005.
2.25m tall x 45cm diameter.
1:3 scale pint glass column.
I enlarged the scale of a commonly used pint glass by tripling its size, and by using a modular system of stacking, (as in Brancusi’s Endless Column) created a totem of sorts. It was important that these remained recognisable items and had not been ‘transformed’, other than in scale. I used real lager to create the dregs on the inner glass and a scaled acrylic of the pint glass volume mark to ensure the familiarity of the object.
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Vacancy (2007) – neon sign, 44 x 13 x 20cm.
The sign used in ‘Vacancy’, is a bought, off the shelf item, and as a result is very recognisable. Placed in a gallery context I would like to think that it proposes a redundancy of the space it inhabits; it behaves as something that is taking the place of something else supposedly more valued, or more creditable. By doing so, it calls into question that which it might be replaced by.
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Untitled (padlocks) 2007. approx 1m x 18cm x 9cm. Wall-bracket, padlocks of various sizes.
In the work ‘Untitled (padlocks) 2007’, the use of the padlocks pays special regard to their usual use-function, but the way in which they are used in the work makes this a redundant quality. The ‘padlock’, may come to be another quality, by the estrangement of the object from its use-function. The repetitive quality of amassing the same objects together, also goes some way in being (rather than becoming) something else.
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