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Wendy Lewis

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'Wendy Lewis could be the Madame Tussaud of the inconsequential. Taking something perfectly ephemeral - a scrap of paper, a chip of wood, a small ornament - she makes a balsawood and paint facsimile of it, perfectly, so you can't tell unless you look really closely, and then why would you want to, unless you already knew? This curious circuit of not knowing, already knowing and not needing to know creates an odd disturbance in your sense of what makes things worth doing. They're not even obsessive or ultra-detailed to the point where you'd think the artist was intensely committed to all things tiny in a crazy way. They are just so well made they disappear even though you can still see them.'
Above text taken from; New Contemporaries Catalogue Publication, 2003.
These images show 'Dandelion' an installation shot and detail and pieces from a series each titled 'Untitled (Souvenir copy)'. 'Dandelion' is made from brass, plastics and paint and was installed in a Physic garden in London. The garden grows plants with medicinal qualities including dandelions. Each of these medicinal plants is grown in its own tended flowerbed but the dandelion especially, is removed from lawns, paths and other borders where it crosses the line between a plant of worth and matter out of place - a weed.'Untitled (Souvenir copy)' fragments are made from balsa wood and paint. The series exist, unassuming, installed in the real world touching a real shelf or a windowsill. At what point does an object evoke a memory and become precious, can a replica refer enough to the original to hold its power?By pushing and testing the point at which something becomes 'visible', teasing out a moment at which things will disappear or be seen depending on how we experience them, we become aware of ourselves, looking out at the world.
Installation view 'Dandelion' 2002-3
Above images from series'Untitled (Souvenir copy)' Balsa wood and acrylic paint
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